Audio remastering system

ABSTRACT

A system to remaster an audio recording by processing selected frequency bands and reducing the volume of each frequency band at selected points during processing.

This application is a continuation application of co-pending U.S. patent application Ser. No. 12/807,361, filed Sep. 2, 2010.

Said Ser. No. 12/807,361 is a continuation-in-part of U.S. patent application Ser. No. 12/317,256, filed Dec. 19, 2008. Said Ser. No. 12/317,256 is a continuation-in-part of U.S. patent application Ser. No. 11/903,615 filed Sep. 20, 2007. Said Ser. No. 11/903,615, filed Sep. 20, 2007 is a continuation-in-part of

-   -   1. U.S. patent application Ser. No. 11/808,000, filed May 31,         2007     -   2. U.S. patent application Ser. No. 11/807,998, filed May 31,         2007     -   3. U.S. patent application Ser. No. 11/809,219, filed May 31,         2007     -   4. U.S. patent application Ser. No. 11/809,218, filed May 31,         2007     -   5. U.S. patent application Ser. No. 11/809,217, filed May 31,         2007         Said Ser. No. 11/808,000, filed May 31, 2007, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/648,848, filed Dec. 29,         2006,     -   2. U.S. patent application Ser. No. 11/648,847, filed Dec. 29,         2006,     -   3. U.S. patent application Ser. No. 11/648,846, filed Dec. 29,         2006, and     -   4. U.S. patent application Ser. No. 11/648,845, filed Dec. 29,         2006.         Said Ser. No. 11/807,998, filed May 31, 2007, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/648,848, filed Dec. 29,         2006,     -   2. U.S. patent application Ser. No. 11/648,847, filed Dec. 29,         2006,     -   3. U.S. patent application Ser. No. 11/648,846, filed Dec. 29,         2006, and     -   4. U.S. patent application Ser. No. 11/648,845, filed Dec. 29,         2006.         Said Ser. No. 11/809,219, filed May 31, 2007, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/648,848, filed Dec. 29,         2006,     -   2. U.S. patent application Ser. No. 11/648,847, filed Dec. 29,         2006,     -   3. U.S. patent application Ser. No. 11/648,846, filed Dec. 29,         2006, and     -   4. U.S. patent application Ser. No. 11/648,845, filed Dec. 29,         2006.         Said Ser. No. 11/809,218, filed May 31, 2007, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/648,848, filed Dec. 29,         2006,     -   2. U.S. patent application Ser. No. 11/648,847, filed Dec. 29,         2006,     -   3. U.S. patent application Ser. No. 11/648,846, filed Dec. 29,         2006, and     -   4. U.S. patent application Ser. No. 11/648,845, filed Dec. 29,         2006.         Said Ser. No. 11/809,217, filed May 31, 2007, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/648,848, filed Dec. 29,         2006,     -   2. U.S. patent application Ser. No. 11/648,847, filed Dec. 29,         2006,     -   3. U.S. patent application Ser. No. 11/648,846, filed Dec. 29,         2006, and     -   4. U.S. patent application Ser. No. 11/648,845, filed Dec. 29,         2006.         Said Ser. No. 11/648,848, filed Dec. 29, 2006, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/604,009, filed Nov. 22,         2006, and     -   2. U.S. patent application Ser. No. 11/604,008, filed Nov. 22,         2006.         Said Ser. No. 11/648,847, filed Dec. 29, 2006 is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/604,009, filed Nov. 22,         2006, and     -   2. U.S. patent application Ser. No. 11/604,008, filed Nov. 22,         2006.         Said Ser. No. 11/648,846, filed Dec. 29, 2006 is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/604,009, filed Nov. 22,         2006, and     -   2. U.S. patent application Ser. No. 11/604,008, filed Nov. 22,         2006.         Said Ser. No. 11/648,845, filed Dec. 29, 2006 is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/604,009, filed Nov. 22,         2006, and     -   2. U.S. patent application Ser. No. 11/604,008, filed Nov. 22,         2006.         Said Ser. No. 11/604,009, filed Nov. 22, 2006, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/526,277, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   2. U.S. patent application Ser. No. 11/526,276, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   3. U.S. patent application Ser. No. 11/526,274, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   4. U.S. patent application Ser. No. 11/526,273, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   5. U.S. patent application Ser. No. 11/526,272, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006, and     -   6. U.S. patent application Ser. No. 11/526,271, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application.         Said Ser. No. 11/604,008, filed Nov. 22, 2006, is a         continuation-in-part of     -   1. U.S. patent application Ser. No. 11/526,277, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   2. U.S. patent application Ser. No. 11/526,276, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   3. U.S. patent application Ser. No. 11/526,274, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   4. U.S. patent application Ser. No. 11/526,273, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006,     -   5. U.S. patent application Ser. No. 11/526,272, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application Ser. No. 60/839,967, filed         Aug. 24, 2006, and     -   6. U.S. patent application Ser. No. 11/526,271, filed Sep. 22,         2006, which claims benefit of provisional patent application         Ser. No. 60/789,509, filed Apr. 5, 2006 and which claims benefit         of provisional patent application.

This invention relates to a method and apparatus for conducting a contest.

More particularly, the invention relates to a contest methodology that enables individuals to record contest performances at a plurality of different locations utilizing recording equipment of comparable quality to insure that contestants are participating on an “even playing field”.

In a further respect, the invention pertains to booth in a publicly accessible location that records a variety of different performances and is adapted to transmit such performances via the Internet, video conferencing, or otherwise and to produce on site in the booth a recording of the performance.

In another respect, the invention pertains to public locations adapted to facilitate via video conferencing the renewal of prescriptions.

In still a further respect, the invention pertains to increasing the commercial viability and appeal of a recording booth to a customer by addressing confidentiality and privacy and copyright issues.

In still another respect, the invention pertains to increasing the commercial viability and appeal of a recording booth to a customer by simplifying registering to use the booth, by streamlining the process for recording a performance and producing a DVD of a performance to minimize the time a customer must be in the booth, by producing a high quality recording of a customer's performance, and by enabling the customer to distribute on multiple occasions copies of a particular performance.

In yet still a further respect, the invention pertains to a traffic generating super network that can exponentially increase the exposure to consumers of an advertiser's product or service.

In yet still another respect, the invention pertains to a method and apparatus to facilitate the integration of a scenic backdrop with a performance in a studio booth in order to provide increased flexibility in meeting the needs of individuals utilizing the booth to conduct and record performances, of entities conducting contests, and of entities utilizing the booth to record a variety of other kinds of performances.

In an additional respect, the invention pertains to a method and apparatus to format a performance to facilitate use of the performance in a studio booth.

In a further additional respect, the invention pertains to a method and apparatus that facilitates recording in a limited space in a studio a performance in a landscape or portrait orientation.

In another additional respect, the invention pertains to an activation card or other “hard” card or chip that is issued when an individual registers to utilize a studio booth and that includes—in a bar code or other data transmitting design or device on or in the card—information necessary both for the individual to enter the studio booth and conduct and record a formatted performance, and for the individual to access a copy of his or her performance on a web site.

In yet a further additional respect, the invention pertains to a method and apparatus that reduces, by writing preliminarily audio and/or video data on a DVD, the likelihood that a defective DVD will be utilized to record a performance that is conducted by an individual in a studio booth, and that therefore increases the likelihood that the individual will have to wait only a minimal amount of time to receive a DVD containing a recording of his or her performance.

In yet another additional respect, the invention pertains to a method and apparatus for management of use of a studio to facilitate a continual use of the booth and minimize scheduling conflicts amongst individuals registering to use the booth, such management comprising limiting access to a booth to individuals registering at the booth; comprising requiring that a particular booth be reserved when an individual registers to use a booth; comprising notifying the computer control system in a booth when a particular date and time has been reserved to use the booth; or, comprising other selected scheduling strategies.

U.S. Pat. No. 6,578,008 to Chacker describes a method and system in which a talent business is implemented on-line such that the public can vote on a large number of unknown artists. The talent business enters into contracts with selected artists depending on public voting. Chacker requires each artist to obtain an audio or video file. The file is uploaded to a web site. Audio and video recording equipment can be expensive, as can the costs associated with obtaining access to the equipment and to sound engineers qualified to operate the equipment. More importantly, the quality of such equipment varies widely. As a result, the equipment may produce a recording that does not accurately reflect the talent of an artist.

U.S. Pat. No. 6,369,908 to Frey et al. discloses a system which enables a user to record captured video images and copy them to a electronic storage media, as well as enabling the user to e-mail the video images to desired locations. Frey et al. does not suggest uploading the video images to a web site in the manner set forth in the above-noted Chacker reference.

U.S. Pat. No. 5,872,922 to Hogan et al. describes a video conferencing system, as does U.S. Pat. No. 6,292,211 to Pena.

The modular, portable, video conferencing booth in the Peltz reference (U.S. Pat. No. 6,205,716) can include a variety of equipment ranging from graphics and document cameras, video cassette recorder, slide projectors, fax machines, printers, personal computer, and a host of software to conduct electronic billing, scheduling software, imaging and administrative document imaging and record keeping, and carriers necessary for delivering voice transcription and to effectively conduct a two-way video conferencing session or meeting. When the Peltz booth is used by a patient to video conference with a physician, the patient can discuss compliance on a drug or homeopathic prescription and discuss if the prescription is already written. The booth can, if desired, include medical equipment such as blood pressure monitors, a dental exam camera, dermatoscopes, electrocardiography systems, electroencephalograph systems, fundoscopes, intravenous infusion pumps, ophthalmoscopes, octoscopes, pulse oximeters, gastroscopes, bronchcoscopes, and videomicroscopes.

U.S. Pat. No. 6,086,380 to Chu et al. sets forth a self-operated karaoke recording booth that provides a selection of background scenes from which to choose and provides a display of the karaoke lyrics being utilized. A video camera is positioned at the user's eye level. Messages and video displays are provided the user by a video display monitor that is connected to a computer. The user's performance can be recorded on a CD or video cassette. The booth can be located in public locations or other locations such as a karaoke club, shopping mall, restaurant, and bar.

U.S. Patent Application 2005/0097613, filed May 5, 2005, to Ulate et al. discloses a recording booth that can be utilized at a private location, or, at a public location such as a shopping mall. Performances recorded in the booth can be sent to a web site or other location to be viewed and/or rated by the public, by a talent agency, by an entertainment company, by a recording studio, by a prospective employer, etc. If the person or company viewing the recording likes the recording, the person or company may hire the performer.

U.S. Patent Application No. 2003/0027120 to Jean discloses a karaoke entertainment system in which a centralized computer and server service a plurality of individual karaoke player rooms. The entertainment system can utilize videos/audios transmitted from a remote library source.

U.S. Patent Application 2006/0005136 to Wallick et al. describes a virtual video studio that is equipped to select any of a plurality of inputs and incorporate the selected input in a composite video stream.

The multimedia production and recording system in U.S. Patent Application 2003/0049591 interleaves stored recorded video segments with real time video segments.

U.S. Patent Application 2005/0013594 describes a system in which individuals make video recordings in kiosks. The video recordings are transmitted to a production studio via a computer network. The video recordings are assembled into a unified video presentation which is downloaded for playback at a particular event.

U.S. Patent Application 2003/0115077 discloses an advertising system which prepares an e-mail with an advertisement and then transmits the e-mail and advertisement.

U.S. Patent Application 2005/0076376 describes a video entertainment satellite network system. The system includes a plurality of individual video entertainment satellite systems that communicate with each other.

The Allon patent (U.S. Pat. No. 4,735,474) describes a booth that produces a hologram of an individual occupying the booth.

International Patent Application No. PCT/AU2005/000949 describes a gambling event which can be monitored by e-mail.

As is shown by the foregoing references, it is well known to utilize a booth in a public location to record a video or audio performance, to make a DVD or audio copy of the performance, to transmit the performance to a web site, to transmit the performance by e-mail, to allow the public, talent scout, or others to view and rate a performance, either via the Internet or otherwise, and to conduct a video conference with a physician or other desired individual.

As used herein, and as is commonly understood, a contest includes at least one, and normally most or all, of the following characteristics. A contest::

-   -   Has a definite termination or closing date by which each         applicant must submit his or her entry.     -   Has a winner. This often is not the case with a rating system.         Numerous job application can be presented to a potential         employer or talent scout or music company to be rated, and the         employer or talent scout or music company may not select any of         the applicants. There is no guarantee there will be a winner.     -   Sets forth a specific reward to the winner, typically comprising         or including a monetary award or other property.     -   Ordinarily is called a contest to suggest to the participants         that there is a closing date and reward.     -   Is conducted under equivalent conditions for each player so that         each player has an equal chance to win.     -   Provides a written set of rules.     -   Sets forth guidelines used to evaluate an entry in the contest.     -   Sets forth in writing legal disclaimers, requirements, or         guidelines.         A contest is not simply a rating. One example of a rating is         rating the value of a car by looking at its blue book value.         Another example of a rating is a rating for an athlete obtained         by determining the athlete's speed, agility, strength, etc. Such         athletic ratings are routinely carried out by college and         professional sports teams. Still another example of a rating is         the rating by an employer of a job applicant after the employer         interviews the job applicant and reviews the applicant's resume.         In contrast, a contest has specific characteristics not normally         associated with a rating. While studio booths can be utilized to         produce recorded performances that are rated, it is believed a         studio booth system tailored to conduct a contest would be more         effective in generating a wide range of interest and         participation.

Accordingly, it would be highly desirable to provide an improved studio booth system that could be utilized to produce recorded performances in the context of a contest or of being rated or otherwise utilized.

Therefore, it is a principal object of the invention to provide an improved system of studio recording sites.

Another object of the invention is to provide a contest system that utilizes easily accessible dispersed recording studios.

A further object of the invention is to provide a network of studio booths that each utilize equivalent equipment to produce a recording of a performance by an individual.

These and other, further and more specific objects and advantages of the invention will be apparent to those of skill in the art from the following detailed description thereof, taken in conjunction with the drawings, in which:

FIG. 1 is a perspective view illustrating a studio booth constructed in accordance with the principles of the invention;

FIG. 2 is a rear view of the studio booth of FIG. 1 illustrating further construction details thereof;

FIG. 3 is a left side view illustrating the studio booth of FIG. 1;

FIG. 4 is a right side view illustrating the studio booth of FIG. 1;

FIG. 5 is a block diagram illustrating a control system that can be utilized in the studio booth of FIG. 1;

FIG. 6 is a block diagram illustrating equipment utilized on the interior and exterior of the studio booth of FIG. 1;

FIG. 7 is a diagram illustrating a sequential series of communications to an individual inside the studio booth after the individual has activated the booth by inserting an activation card;

FIG. 8 is a diagram illustrating another communication to an individual inside the studio booth after the individual has activated the booth by inserting an activation card;

FIG. 9 is a top view illustrating an activation card printed for an individual who has paid to utilize the studio booth to record a performance;

FIG. 10 is a back view further illustrating the activation card of FIG. 9;

FIG. 11 is a diagram illustrating a sequence of communications to an individual who is standing outside the studio booth and registering to utilize the booth;

FIG. 12 is a diagram illustrating a sequence of communications that are subsequent to the communications of FIG. 11 and that are directed to an individual who is standing outside the studio booth and registering to utilize the booth;

FIG. 13 is a diagram illustrating a sequence of communications that are subsequent to the communications of FIG. 12 and that are directed to an individual who is standing outside the studio booth and registering to utilize the booth;

FIG. 14 is a diagram illustrating a sequence of communications that are subsequent to the communications of FIG. 13 and that are directed to an individual who is standing outside the studio booth and registering to utilize the booth;

FIG. 15 is a diagram illustrating the operative relationship between a pair of display screens inside the studio booth, the activation card, the control, the joystick, and the camera;

FIG. 16 is a front view of a display screen inside the studio booth illustrating the zoom feature of the camera in the video booth;

FIG. 17 is a diagram illustrating the dispensing of a prescription during a video conference between two studio booths;

FIG. 18 is a diagram illustrating the use of a studio booth of the invention as an access portal to a web site used to establish a personal relationship between parties;

FIG. 19 is a diagram illustrating a confidentiality-ownership flowchart in connection with the use of a studio or recording booth of the invention;

FIG. 20 is a diagram illustrating the first phase in another ownership-confidentiality embodiment of the invention;

FIG. 21 is a diagram illustrating the next phase in the ownership-confidentiality embodiment of FIG. 20;

FIG. 22 is a diagram illustrating possible post-performance amendments in the recording booth;

FIG. 23 is a diagram illustrating another phase in the ownership-confidentiality embodiment of FIG. 20;

FIG. 24 is a diagram illustrating a sequence of communications to an individual who is standing outside the studio booth and registering to utilize the booth to participate in a game of chance;

FIG. 25 is a diagram illustrating a sequence of communications that are subsequent to the communications of FIG. 24 and that are directed to an individual who is standing outside the studio booth and registering to utilize the booth to participate in a game of chance;

FIG. 26 is a diagram illustrating an additional communication subsequent to the communications of FIG. 25 and that is directed to an individual who is standing outside the studio booth and registering to utilize the booth to participate in a game of chance;

FIG. 27 is a top view illustrating an activation card printed for an individual who has paid to utilize the studio booth to participate in a game of chance;

FIG. 28 is a back view further illustrating the activation card of FIG. 27;

FIG. 29 is a diagram illustrating a sequential series of communications to an individual inside the studio booth to play a game of chance after the individual has activated the booth by inserting an activation card in a card reading device inside the booth;

FIG. 30 is a diagram illustrating, when an individual is using the booth to participate in a game of chance, the operative relationship between a pair of display screens inside the studio booth, the activation card, the control, the joystick, the camera, and a fingerprint scanner;

FIG. 31 is a diagram illustrating network nodes available to an advertiser in connection with an individual's performance, but prior to the performance being conducted and recorded in a studio booth;

FIG. 32 is a diagram illustrating network nodes available to an advertiser when an individual is recording a performance in a studio booth;

FIG. 33 is a diagram illustrating potential network nodes available to an advertiser in connection with an individual's performance, but after the performance is recorded in a studio booth;

FIG. 34 is a diagram illustrating screens available for advertising while an individual is conducting and recording a performance in a studio booth;

FIG. 35 is a diagram illustrating an activation card available for advertising when an individual registers to utilize and studio booth and when the individual actually uses the studio booth to conduct and record a performance;

FIG. 36 is a diagram illustrating screens available for advertising while an individual is registering to utilize a studio booth;

FIG. 37 is a partial perspective view of the interior of a studio booth illustrating the use of a chroma key screen in integrating a scenic background and an audio and visual recording of an individual to produce an integrated recording;

FIG. 38 is a front view illustrating a display screen inside a studio booth that is viewed by an individual during a recording session and that continuously depicts in real time the integrated recording being produced by the studio booth;

FIG. 39 is a block flow diagram illustrating how a recorded performance produced by a studio booth can be used on multiple occasions by the owner of the performance (or by the owner's agent, licensee, etc.) after the performance is transmitted to a web site;

FIG. 40 is a top view illustrating a camera system utilized in a studio booth;

FIG. 41 is a front view of the camera system of FIG. 40 illustrating the mode of operation thereof;

FIG. 42 is a side view illustrating further construction details of the camera of FIG. 40;

FIG. 43 is an exploded view of the camera system of FIG. 40 illustrating further construction details thereof;

FIG. 44 is a view illustrating a mock-up of a web site home page for an owner or operator of a studio booth;

FIG. 45 is a front view of a display screen utilized inside a studio booth and depicting the display that would appear if a camera signal were not adjusted;

FIG. 46 is a block flow diagram illustrating an automatic system for processing audio and visual signals to produce a DVD including a performance recorded in a studio booth;

FIG. 47 is a block flow diagram illustrating a system for broadcasting an interview including an individual in a studio booth and an interviewer remote from the studio booth;

FIG. 48 is a block flow diagram illustrating the transmission from the studio booth of a performance to a remote mobile media player or other designated destination;

FIG. 49 is a block flow diagram illustrating the transmission from a remote mobile media player to a studio booth or other selected destination;

FIG. 50 is a block flow diagram illustrating the selection in a studio booth by a customer of auxiliary sound effects;

FIG. 51 is a top view of the floor of a studio booth illustrating minimum camera distance and horizontal field of view;

FIG. 52 is a top view illustrating a booth footprint;

FIG. 53 is a top view illustrating a booth footprint;

FIG. 54 is a top view illustrating a booth footprint;

FIG. 55 is a block diagram illustrating an audio-video processing system in accordance with an embodiment of the invention;

FIG. 56 is an exploded perspective view illustrating a chroma key screen in accordance with an embodiment of the invention; and,

FIG. 57 is a block flow diagram illustrating an improved remastering process in accordance with the invention.

Briefly, in accordance with the invention, provided is an interactive personal service provider for video communication having a studio. The studio includes an audio and video recorder to record at least one performance thereby making a recorded performance; at least one computer server for storing the recorded performance. The computer server comprises an audio and video player to preview the recorded performance, and a database to receive input information from a studio user that relates to the recorded performance. The studio also comprises a communication connection to transmit the recorded performance to a studio site maintained by a studio operator wherein the recorded performance is categorized and wherein the site enables a plurality of viewers to view the recorded performance. An information seeker can query said input information. The recorded performance can comprise a Karaoke-style performance performed in the studio. The studio site can comprise a website. A menu on the studio site can be provided to list subject matter and predetermine main categories and sub-categories. The interactive service provider can have a video conferencing capability. The interactive service provider can further comprise a rating means to enable the viewer to rate the recorded performance.

In another embodiment of the invention, provided is a method for placing a performance of a studio user on a studio site. The method comprises the steps of providing a studio in a public location wherein the studio comprises and audio and video recording capability; recording a performance of a studio user in the studio on a studio server to create a recorded performance; categorizing the recorded performance by subject matter in a database; and, making the recorded performance accessible from a studio site maintained by a studio operator. The studio can be substantially soundproof. The studio user can agree to an exclusive agency contract with a studio operator before or after recording a performance. The recorded performance can comprise at least two studio users in at least two separate locations.

In a further embodiment of the invention, provided is a method to recruit talent. The method includes the steps of providing a studio in a public place for at least one studio user to record a performance; recording the performance in the studio on a studio server to make a recorded performance; and, transmitting the recorded performance to an information seeker. The studio user can provide demographic information. A talent seeker can be permitted to access the demographic information. The demographic information can be transmitted to a talent seeker. The video can be rated by members of the public or by any other desired party(s).

In still another embodiment of the invention, provided is an apparatus for distributing information to at least one information seeker. The apparatus comprises at least two studio booths wherein each studio booth is equipped with an audio and video recording device and is located in a publicly accessible location; and, a studio site connected to each of the studio booth where a plurality of studio users can access one of the plurality of studio booths to upload a performance. Each booth can further comprise at least one server. The studio site can comprise a website. At least two studio booths can be located in different geographical locations.

In still a further embodiment of the invention, provided is apparatus to conduct a contest in which recorded performances of different individuals are reviewed to select a winner. The apparatus comprises at least one recording booth including recording equipment and a registration station. The recording equipment comprises at least one camera for photographing the video portion of at least one individual's performance and generating video signals; at least one microphone for sensing the audio portion of the individual's performance and generating audio signals; lighting; and, performance apparatus to record video and audio signals generated by the camera and microphone and generate a recorded performance by said individual. The registration station permits an individual to enter information concerning the individual participating in the contest and to produce a control card to activate a recording session in the booth, and to set forth contest rules. The apparatus also includes apparatus for reviewing recorded performances generated by the booth to select a winner of the contest. The recorded performance can comprise a still photograph or a video of the individual.

In yet another embodiment of the invention, provided is improved apparatus to conduct a contest in which recorded performances of different individuals are reviewed to select a winner. The apparatus comprises a least one recording booth. The booth includes recording equipment comprising at least one camera for photographing the video portion of at least one individual's performance and generating video signals; at least one microphone for sensing the audio portion of the individual's performance and generating audio signals; lighting; performance apparatus to record video and audio signals generated by the camera and microphone and generate a recorded performance by the individual; and, a display viewable by the individual indicating the individual's ownership of the recorded performance and the control by the individual of the confidentiality of the performance.

In yet a further embodiment of the invention, provided is apparatus to participate in a game of chance. The apparatus comprises a plurality of recording booths each including video conferencing equipment to communicate between the booth and a casino at a location remote from the booth and comprising at least one camera for viewing an individual situated in the booth; at least one microphone for sensing the speech of the individual; at least one display screen to display the image of a casino employee; at least one speaker to produce the voice of the casino employee; and, apparatus to transmit signals between the booth and the casino. The recording booth also includes apparatus to confirm the identity of the individual.

In an additional embodiment of the invention, provided is an improved system for recording a performance. The system has a studio comprising an audio and video system to detect and generate audio-visual signals representing at least one selected performance conducted in the studio; a computer system to generate signals representing a scenic backdrop; and, a system to integrate the background signals and the audio-visual signals to make a recorded performance. The performance can be a formatted performance. The studio can list different categories of performances. A menu at the studio can allow user-selected performance categories. The scenic backdrop can be selected based on at least one of a pair comprising geographic locale; and, desired content. The recorded performance may have to include a backdrop selected from a pre-defined list of backdrops including at least one backdrop. The recorded performance can be for entry in a category of performances comprising a contest. The recorded performance can be for entry in a category of performances comprising performances transmitted to a personal relationship web site. The recorded performance can be for entry in a category of performances comprising a portal for initial entry and registration on a personal relationship web site. The recorded performance can be used to apply for employment. The scenic backdrop can be at a location remote from the studio and stored for recall during the selected performance. The scenic backdrop can be stored at a location remote from the studio for recall during the selected performance in the studio. The studio can include a chroma key screen inside the studio to produce background light that is, along with the selected performance, detected by the audio and visual system. The scenic backdrop can be stored at the studio for recall during the selected performance in the studio. The chroma key screen can include a plurality of light reflective glass beads. The chroma key screen can be comprised of a material that is green. The studio can comprise a booth and the system can include a plurality of said booths located remote from each other. The system can include a network to receive the recorded performance. The network comprises multiple nodes including a plurality of the studio booths at separate remote locations; and, a plurality of receiving apparatus to receive at the nodes at least the recorded performance. The system can include a display in the booth indicating the ownership of the recorded performance and the control of the confidentiality of the recorded performance. The system can automatically integrate the background signals and the audio-visual signals and produce a DVD containing the recorded performance. The audio and video system can include a camera rotatable between a first operative position to produce a landscape picture of an individual in the studio; and, a second operative position to produce a portrait picture of an individual in the studio.

In a further additional embodiment of the invention, provided is an improved method to record performances. The method comprises the steps of selecting a plurality of different kinds of performances; for each one of the kinds of performances, selecting and recording for recall at least one associated scenic backdrop; providing at least one studio booth including an audio and video system to detect and generate audio-visual signals representing performances conducted in the studio, including a computer system to generate backdrop signals representing a scenic backdrop, and including a control system to integrate the background signals and the audio-visual signals to make a recorded performance; conducting one of the kinds of performances in the booth; detecting in the booth with the audio and video system the one of the kinds of performances, and generating audio-visual signals representing the one of the kinds of performances; generating in the booth with the computer system backdrop signals representing a scenic backdrop assigned to the one of the kinds of performances; and, integrating with the control system in the booth the audio-visual signals and the backdrop signals to make an integrated performance. The kinds of performances can each be formatted. Each one of the kinds of performances can have a different associated scenic backdrop. Different categories of performances can be listed in a menu at the studio booth; a category of performance can be selected from the menu; and the performance conducted in the booth can be in the category of performance selected from the menu. The scenic backdrop can be selected based on at least one of a pair comprising geographic locale; and, desired content. The integrated performance can be required to be recorded using a pre-selected backdrop. The integrated performance can be entered in a contest. The integrated performance can be transmitted to a personal relationship web site. The integrated performance can be transmitted to a personal relationship web site to register and establish an account at the web site. The integrated performance can be transmitted to apply for employment. The scenic backdrop can be made at a location remote from the studio and stored for recall. The scenic backdrop can be stored at a location remote from the studio for recall. The studio can include a chroma key screen inside said studio to produce background light that is, simultaneously with said performance conduction in said booth in step (d), detected by said audio and visual system. The scenic backdrop can be stored at the studio. The chroma key screen can include a plurality of light reflective glass beads. The screen can be comprised of a material that is green. The method can include the additional steps of creating a network comprised of multiple nodes including a plurality of studio booths at separate remote locations, and including a plurality of receiving apparatus to receive at the nodes recorded performances from the booths; recording a plurality of the kinds of performances at the booths; transmitting each of the kinds of performances from the booths to a plurality of the nodes; and, promoting the product or service by advertising at each of the plurality of nodes. The method can include the additional step of producing at the booth a display indicating the ownership of the integrated performance and the control of the confidentiality of the integrated performance. The method can be performed automatically in the booth and include the additional step of processing automatically the integrated performance to produce and dispense at the booth a DVD of the performance. The audio and video system can include a camera rotatable between a first operative position to produce a landscape picture of an individual in the studio, and a second operative position to produce a portrait picture of an individual in the studio. The camera can, during the method, be rotated from the first operative position to the second operative position.

In a further embodiment of the invention, I provide an improved method to produce in an area of restricted size while minimizing perspective distortion and subject distortion a recording of an individual that produces the illusion that the individual is located in a larger area. The method comprises the step of providing a studio booth. The studio booth includes an interior with a front wall, a rear wall, side walls extending between the front wall and rear wall, a floor, and a ceiling; includes an audio and video system to detect and generate audio-visual signals comprising a recording of at least one performance conducted in the booth, the system including a digital camera mounted at the front wall; includes a chroma key screen extending over at least a portion of the rear wall to produce background light that is, along with the performance conducted in the booth, detected by the digital camera; includes a transmitter to send the audio-visual signals to a selected location remote from the booth; and, includes a computer system to generate backdrop signals representing a scenic backdrop and to integrate the audio-visual signals and the backdrop signals to produce a recorded performance. The booth occupies a spatial volume fitting substantially within a footprint volume having a simple convex polygon cross-section having dimensional parity and having a width no greater than ten feet. The method also includes the steps of selecting a lens system for the digital camera with a horizontal field of view that minimizes subject distortion of an individual performing in the interior of the booth; defining, to minimize subject distortion, a minimum distance that an individual stands away from the camera when the individual is in the interior of the booth to conduct a performance; selecting a scenic backdrop to be utilized by the computer system, to minimize subject-background correlation distortion, and depicting an area larger than the interior of the studio booth; conducting a live performance in the booth by the individual in the interior and no closer to the camera than the minimum distance and generating with the computer system a recording of the performance comprising audio visual signals of the live performance integrated with backdrop signals of the selected scenic backdrop selected in step (d); and, transmitting to the selected remote location with the transmitter the recording produced in step (b). The minimum distance can be three feet, and the horizontal field of view can be in the range of fifty-two degrees to sixty-six degrees. The booth can includes a receiver and advertising display screens; and, the computer system, in addition to transmitting said recording, can receive promotional material for display on the display screen. The digital camera can be a high definition camera producing at least 1080 lines of horizontal resolution; and, the computer system can initially transmit the recording in a resolution less than the 1080 lines of horizontal resolution and then at a later time transmit the recording in a resolution of at least 1080 lines of horizontal resolution. The chroma key screen can extend onto the floor, can extend onto the floor and side walls, or can extend onto the floor, side wall, and ceiling. The scenic backdrop can be pre-selected prior to recordation of a performance in the booth by the individual. The lens system can be a zoom lens system; and, the method can comprises the additional step of defining a zoom position for the zoom lens system. The method can include the additional steps of collecting a fee from the individual; of evaluating at the selected remote location on its merits the live performance in the transmitted recording; of preparing a report of the evaluation; and, of transmitting the report to the individual. The recording generated in the booth can have minimized subject and perspective distortion and consequently realistically make the individual appear to have made the recording in an area larger than the interior of the booth. The greatest side dimension ca be greater than ten feet.

In another embodiment of the invention, I provide an improved method to generate bi-directional content by receiving promotional data and by producing in an area of restricted size while minimizing perspective distortion and subject distortion a recording of an individual that produces the illusion that the individual is located in a larger area. The method comprises the step of providing a studio booth. The booth includes an interior with a front wall, a rear wall, side walls extending between said front wall and rear wall, a floor, and a ceiling; includes an exterior; includes an audio and video system to detect and generate audio-visual signals comprising a recording of at least one performance conducted in the booth, the system including a digital camera mounted at the front wall; includes a chroma key screen extending over at least a portion of the rear wall to produce background light that is, along with the performance conducted in the booth, detected by the digital camera; includes at least one display screen on the exterior of the booth; includes a transmitter-receiver to send the audio-visual signals to a selected location remote from the booth and to receive signals containing promotional material; and, includes a computer system to receive the promotional signals from the transmitter-receiver and display the signals on the display screen. The booth occupies a spatial volume fitting substantially within a footprint volume having a simple convex polygon cross-section having dimensional parity and having a width no greater than ten feet. The method also includes the steps of selecting a lens system for the digital camera with a horizontal field of view that minimizes subject distortion of an individual performing in the interior of the booth; of defining, to minimize subject distortion, a minimum distance that an individual stands away from the camera when the individual is in the interior of the booth to conduct a performance; of selecting a scenic backdrop to minimize subject-background correlation distortion, and to depict an area larger than the interior of the studio booth; of conducting a live performance in the booth by the individual in the interior and no closer to the camera than the minimum distance and generating with the audio and visual system a recording of the live performance with the scenic backdrop selected in step (d); of transmitting to the selected remote location with the transmitter-receiver the recording produced; and, of transmitting to said transmitter-receiver signals containing promotional material; and, of displaying on the display screen with the computer system the promotional material.

In still a further embodiment of the invention, I provide an improved method to produce in an area of restricted size in a realistic manner while minimizing perspective distortion and subject distortion a recording of an individual that produces the illusion that the individual is located in a larger area. The method includes the step of providing a studio booth including an interior with a front wall, a rear wall, side walls extending between the front wall and rear wall, a floor, and a ceiling; including an audio and video system to detect and generate high resolution audio-visual signals comprising a recording of at least one performance conducted in the booth, the system including a high resolution digital camera mounted at the front wall; including a transmitter to send the audio-visual signals to a selected location remote from the booth; and, includes a computer system to receive high resolution audio-visual signals and to generate low resolution audio-video signals from said high resolution audio-visual signals. The booth occupies a spatial volume fitting substantially within a footprint volume having a simple convex polygon cross-section having dimensional parity. The method includes the steps of selecting a lens system for the digital camera with a horizontal field of view that minimizes subject distortion of an individual performing in the interior of said booth; of defining, to minimize subject distortion, a minimum distance that an individual stands away from the camera when the individual is in the interior of the booth to conduct a performance; of selecting a scenic backdrop to minimize subject-background correlation distortion, and depicting an area larger than the interior of the studio booth; of conducting a live performance in the booth by the individual in the interior and no closer to the camera than the minimum distance and generating with the audio and visual system a recording of the performance comprising high resolution audio visual signals of the live performance including the selected scenic backdrop; of generating with the computer system low resolution audio visual signals from the high resolution audio visual signals; of transmitting with the transmitter at a selected time the low resolution audio visual signals to a selected location; and, of transmitting with the transmitter subsequent to the selected time the high resolution audio visual signals to a selected location.

In still another embodiment of the invention, I provide an improved method to conduct a contest by producing in an area of restricted size in a realistic manner while minimizing perspective distortion and subject distortion a recordings of an individual that produce the illusion that the individual is located in a larger area. The method includes the step of providing at least one studio booth. The booth includes an interior with a front wall, a rear wall, side walls extending between the front wall and rear wall, a floor, and a ceiling; including an audio and video system to detect and generate high resolution audio-visual signals comprising a recording of at least one performance conducted in the booth, the system including a high resolution digital camera mounted at the front wall; including a transmitter to send the audio-visual signals to a selected location remote from the booth; and, includes a computer system to receive high resolution audio-visual signals and to generate low resolution audio-video signals from said high resolution audio-visual signals. The booth has a footprint fitting within a rectangular area having a greatest side dimension of ten feet. The method also includes the steps of selecting a lens system for the digital camera with a horizontal field of view that minimizes subject distortion of an individual performing in the interior of the booth; of defining, to minimize subject distortion, a minimum distance that an individual stands away from the camera when the individual is in the interior of the booth to conduct a performance; of selecting a contest and defining contest rules; of pre-selecting at least one scenic backdrop that must be utilized by contest participants, that is utilized by said computer system, that minimizes subject-background correlation distortion, and that depicts an area larger than the interior of the studio booth; of conducting for use in the contest live performances in the booth by individuals in the interior and no closer to the camera than the minimum distance and generating with the computer system a recording of the performance comprising audio visual signals of the live performance integrated with backdrop signals of the selected scenic backdrop; and, of transmitting to the selected remote location with the transmitter the recording that is produced.

In yet a further embodiment of the invention, I provide an improved method to conduct a broadcast interview by producing in an area of restricted size in a realistic manner while minimizing perspective distortion and subject distortion a recording of an individual that produces the illusion that the individual is located in a larger area. The method includes the step of providing a studio booth. The booth includes an interior with a front wall, a rear wall, side walls extending between the front wall and rear wall, a floor, and a ceiling; including an audio and video system to detect and generate high resolution audio-visual signals comprising a recording of at least one performance conducted in the booth, the system including a high resolution digital camera mounted at the front wall; including a transmitter to send the audio-visual signals to a selected location remote from the booth; and, includes a computer system to receive high resolution audio-visual signals and to generate low resolution audio-video signals from said high resolution audio-visual signals. The booth has a footprint fitting within a rectangular area having a greatest side dimension of ten feet. The method also includes the steps of selecting a lens system for the digital camera with a horizontal field of view that minimizes subject distortion of an individual performing in the interior of the booth; of defining, to minimize subject distortion, a minimum distance that an individual stands away from the camera when the individual is in the interior of the booth to conduct a performance; of selecting a scenic backdrop to minimize subject-background correlation distortion, and to depict an area other than the interior of the studio booth; of conducting and recording a live interview of the individual in the interior of the booth and no closer to the camera than the minimum distance and generating with the computer system a recording of the performance comprising audio visual signals of the live interview integrated with backdrop signals of the selected scenic backdrop selected in step (d), the live interview conducted by another individual at a location remote from the booth; and, transmitting to a selected remote location with the transmitter the recording that is produced.

In another embodiment of the invention, provided is a method to record and transmit a performance. The method includes the steps of providing a studio booth including an interior with a front wall, a rear wall, side walls extending between the front wall and rear wall, a floor, and a ceiling; a high definition digital camera mounted at the front wall to generate video signals comprising at least one live in-booth performance; an audio system to detect and generate audio signals comprising an audio recording of the live in-booth performance; a chroma key screen extending over at least a portion of the rear wall to produce background light that is, along with the live in-booth performance conducted in the booth, detected by the digital camera; a computer system to generate backdrop signals representing a scenic backdrop; a transmitter-receiver to send signals to a computer server at a location remote from the booth; and, a flash encoder to receive the video signals, the audio signals, and the backdrop signals to generate performance signals comprising a recorded performance of the live in-booth performance, the recorded performance incorporating the video signals, the audio signals, and the backdrop signals, and to transmit the performance signals to the transmitter-receiver. The method also includes the steps of providing a computer server remote from the booth; conducting the live in-booth performance; generating with the flash encoder the performance signals of the in-booth performance and transmitting the performance signals to the transmitter-receiver; and, transmitting with the transmitter-receiver the performance signals to the computer server for storage in the computer server.

In another embodiment of the invention, provided is a method to record and transmit a performance. The method includes the steps of providing a studio booth including an interior with a front wall, a rear wall, side walls extending between the front wall and rear wall, a floor, and a ceiling; a high definition digital camera mounted at the front wall to generate video signals comprising at least one live in-booth performance; an audio system to detect and generate audio signals comprising an audio recording of the live in-booth performance; a chroma key screen extending over at least a portion of the rear wall to produce background light that is, along with the live in-booth performance conducted in the booth, detected by the digital camera; a computer system to generate backdrop signals representing a scenic backdrop; a transmitter-receiver to send signals to a computer server at a location remote from the booth; a flash encoder to receive the video signals, the audio signals, and the backdrop signals to generate performance signals comprising a recorded performance of the live in-booth performance, the recorded performance incorporating the video signals, the audio signals, and the backdrop signals, and to transmit the performance signals to the transmitter-receiver; and, a system to minimize leakage. The method also includes the steps of providing a computer server remote from the booth; conducting the live in-booth performance; generating with the flash encoder the performance signals of the in-booth performance and transmitting the performance signals to the transmitter-receiver; and, transmitting with the transmitter-receiver the performance signals to the computer server for storage in the computer server.

In another embodiment of the invention, provided is a method to record and transmit a performance. The method includes the steps of providing a studio booth including an interior with a front wall, a rear wall, side walls extending between the front wall and rear wall, a floor, and a ceiling; a high definition digital camera mounted at the front wall to generate video signals comprising at least one live in-booth performance; an audio system to detect and generate audio signals comprising an audio recording of the live in-booth performance, said system automatically adjusting vocal and music accompaniment portions to a selected dynamic range; a chroma key screen extending over at least a portion of the rear wall to produce background light that is, along with the live in-booth performance conducted in the booth, detected by the digital camera; a computer system to generate backdrop signals representing a scenic backdrop; a transmitter-receiver to send signals to a computer server at a location remote from the booth; and, a flash encoder to receive the video signals, the audio signals, and the backdrop signals to generate performance signals comprising a recorded performance of the live in-booth performance, the recorded performance incorporating the video signals, the audio signals, and the backdrop signals, and to transmit the performance signals to the transmitter-receiver. The method also includes the steps of providing a computer server remote from the booth; conducting the live in-booth performance; generating with the flash encoder the performance signals of the in-booth performance and transmitting the performance signals to the transmitter-receiver; and, transmitting with the transmitter-receiver the performance signals to the computer server for storage in the computer server, said system automatically adjusting vocal and music accompaniment portions to a selected dynamic range,

In an additional embodiment of the invention, provided is an improved method to remaster an audio recording. The method comprises the steps of reducing the volume of the audio recording; producing a plurality of equivalent secondary signals by reducing the overall volume of the audio recording and reducing the amplitude of a limited number of selected frequencies in the audio recording; and, synchronously processing a selected frequency band in each one of the equivalent secondary signals by sequentially processing the secondary signal with at two pieces of equipment from a group consisting of a limiter, an expander, a compressor, and an equalizer, and reducing the volume of the secondary signal when the secondary signal is transmitted from one of the pieces of equipment to another of the pieces of equipment.

Turning now the drawings, which depict the presently preferred embodiments of the invention for the purpose of illustration thereof, and not by way of limitation of the invention, and in which like characters refer to corresponding elements throughout the several views, FIGS. 1 to 4 illustrate a studio booth 10 constructed in accordance with the invention for producing audio-visual recordings of performances and for producing still photographs, for producing DVDs containing recorded performances, and for transmitting, by wireless or other signals, recorded performances to Internet web sites, to e-mail addresses, or to other desired locations. Booth 10 can be utilized at any desired location, but in a preferred embodiment of the invention is located in a shopping center, airport, college campus, or other public location. Further, it is anticipated that a plurality of booths 10 will be utilized at spaced apart, different geographic locations to facilitate the use by many people of booths 10. For example, a plurality of individuals in a designated area (for example, a suburb or other part of a city, a city, a county, a state, a country, etc.) can submit recorded performances from different booths as part of a contest, of a group of applications for a job, etc. Booth 10 is, as is the custom with recording studios, preferably sound proof, or at least substantially sound proof.

The exterior of booth 10 includes a pair of registration stations that enables two individuals to simultaneously register to utilize booth 10. The first registration station include a touch sensitive registration screen 13, a bill reader 14 for reading and accepting currency, a credit card reader 15 for reading and utilizing an individual's credit card to make a payment, a money changer 16, and a printer 82. The second registration station is identical to the first registration station and includes a touch sensitive registration screen 13A, a bill reader 14A, a credit card reader 15A, a money changer 16, and a printer 82A. Handicap rated ramp 13 leads to door 17. Door 17 is opened to access the interior of booth 10.

Traveling banner 46 on the exterior of booth 10 allows various messages and/or advertisements to scroll across banner 46. The right side 40 of booth 10 includes a television screen or other display screen 12, and includes a display unit 11 that projects three dimensional digital video images 47 out into space and detached from booth 10, producing an independent floating, moving image featuring high definition and crisp visibility from distances up to one hundred feet and up to sixty degree viewing angles. One such unit is produced by Provision of 9253 Eton Avenue, Chatsworth, Calif. 91311. The left side 41 of booth 10 similarly includes a television screen or other display screen 12A, and includes a display unit 11A that projects three dimensional digital video images out into space and detached from booth 10, producing an independent floating, moving image featuring high definition and crisp visibility from distances up to one hundred feet and up to sixty degree viewing angles.

The rear 42 of booth 10 includes a plurality of television or other display screens 43, 44.

If an individual is in booth 10, sign 19 adjacent door 14 reads “IN SESSION” to notify onlookers that the booth 10 is in use. If booth 10 is empty, sign 19 reads “NOT IN SESSION” or “OPEN” or “READY TO RECORD”. Door 14 can be locked and unlocked by an individual inside booth 10. When an individual is inside booth 10, an individual outside booth 10 can not unlock door 14.

The computer control system illustrated in FIG. 5 can be utilized in booth 10 to control the operation of booth 10 and includes various sub-routines 80 and various data stored in memory 81.

Entry-exterior sub-routine 67 determines the information displayed on and generates signals for screens 12, 12A, 43, 44, traveling banner 46, and 3D projection units 11 and 11A. Sub-routine 67 utilizes advertising data 75 stored in memory 69. Sub-routine 67 also controls the registration stations, including registration screens 13 and 13A and the payment system.

When an individual in booth 10 is conducting a video conference with another individual at a location remote from booth 10, video conference sub-routine 68 controls the receipt and transmission of video and audio information to and from booth 10.

During a performance by an individual in booth 10, audio-visual sub-routine 69 controls the recordation in computer memory (as recording data 65) of digital audio and video data defining the performance. Camera 21 records and transmits to computer memory 81 a video record of the performance as part of recording data 65. The audio record of the performance is transmitted by microphone(s) 23 to computer memory as part of recording data 65. An analog system can be utilized to record a performance, but a digital system is presently preferred in the practice of the invention. Recording data 65 can also include data that categorizes or differentiates performances from other performances. For example, if an individual records a performance for the purpose of entering an Interscope Records singing or talent contest, the individual selects this category(s) while registering at booth 10, and this category information is stored in data 65 along with the individual's recorded performance. When the individual's recorded performance is transmitted by transceiver 20 using transceiver sub-routine 73, the category information, along with any other desired information like demographic information provided by the individual, is transmitted along with the individual's performance. The computer system in booth 10 can be configured such that a recorded performance stored in recording data 65 can, if desired, be accessed and viewed by a computer that is at a remote location; or, such that the remote computer can cause the recorded performance to be transmitted from booth 10 to the remote computer or to another desired location at which a reviewing entity is seeking any or selected information concerning the performance. The reviewing entity(s) can seek information comprising demographic information, can seek the names of individuals participating in a contest or job application, can seek information comprising the actual performances of individuals participating in a contest or job application, can seek any other desired information associated with the recorded performance, can rate the performance, can selected the winner(s) of a contest, etc. The reviewing entities can comprise members of the public that are rating a performance or selecting the winner in a group of performances. The remote computer can be operated by the owner of booth 10 or by any other desired party.

Recorded performances can be differentiated by the computer system in booth 10 according to any desired subject matter or classification system such as, by way of example, gender of the performer, age of the performer, a category (job application for a particular company, musical performance for a particular contest, message to a particular person, etc.), the kind of performance (singing, modeling, acting, interview, etc.), and so on. A category of performances can, if desired, be further differentiated into sub-categories. If, for example, a category is Contests, the Contests category can include sub-categories identifying a singing contest, modeling contest, etc.

After a recorded performance is transmitted from booth 10 (either concurrently with the performance or at some time after the performance) to a selected site, the site can be accessible to any desired individual seeking information comprising the recorded performance or comprising demographic or other information associated with and accompanying the performance.

Sub-routine 69 also enables an individual utilizing booth 10 to play back and preview his or her performance using a display screen 24, 25 and audio speaker in booth 10.

During use of the booth 10 by an individual, camera sub-routine 70 controls operation of the camera and, in response to use of a joy stick by an individual in the booth, controls movement of the camera up and down, controls adjustment of the camera focus or zoom lens, etc.

The printer sub-routine 71 controls printers 82 and 82A and, when a printer is utilized inside booth 10, controls that printer. Printers 82 and 82A print and dispense activation cards, credit card receipts, and any other desired information. A printer installed inside booth 10 can be utilized to print a drug prescription or any other desired information.

The media recordation sub-routine controls the recording on a DVD or other media of an individual's or group's performance and controls the dispensing of the DVD to an individual in, or outside, the booth 10.

The transceiver sub-routine 73 controls the wireless or other transmission of data to and from booth 10, including the receipt of advertising information to be displayed on screens 12, 12A, 43, 44, on traveling banner 46, and by 3D projection units 11 and 11A, and, including the transmission of recorded performances to Internet web sites, e-mail addresses, and other desired locations. When a recorded performance is transmitted to a website or other location, the performance can be incorporated in a particular selected category at the website. For example, if the performance is submitted as part of a singing contest, the performance can be incorporated with other entries as part of the contest and can be made accessible by the individual that recorded the performance, by members of the public or other individuals that wish to view and/or evaluate and rate the performance, by a company that is looking for and evaluating talent, or by any other entity seeking information about the individual or the contest in which the individual is participating.

Equipment that can be incorporated in booth 10 is illustrated in FIG. 6. Equipment utilized by an individual inside booth 10 includes transceiver 20, camera 21, lighting 22, microphone 23, display screen one 24, display screen two 25, joy stick 26, printer 27, and activation card slot 28. Apparatus for producing and dispensing a DVD or other media recordation of an individual's performance can also be included in booth 10.

Equipment utilized by an individual outside booth 10 includes entry system 30, display screens 31, running light banner 32, session signage 33, 3D projection display 34, and other desired equipment 35. Entry system 30 includes entry card printers 82 and 82A; data input touch sensitive registration screens 13 and 13A; payment systems 14, 15, 16, 14A, 15A, 16A; and, performance mode selection (utilized during operation of registration screens 13 and 13A).

Special features that are preferably, but not necessarily, incorporated in booth 10 pertain to (1) equivalent recording conditions, (2) registration, (3) access, (4) camera control, (5) activation card, (6) portal access, and (7) prescription dispensation. These features are discussed below.

Equivalent Recording Conditions

The quality of recording equipment can vary widely, as can how the equipment is utilized. Computers can be used to alter the appearance of an individual, the individual's voice, the background scene in a recording, etc. An individual who is a mediocre singer can be made by an expert sound/recording engineer to sound impressive.

An important feature of the invention is to insure that equivalent recording conditions exist in each studio booth or location utilized, and that an individual's performance is accurately, albeit professionally, recorded without significant touching up that alters the ture nature of and misrepresents the individual's performance. For example:

-   (1) Lighting. Light fixtures of equivalent quality are utilized in     each studio booth or other location. The fixtures in one booth     produce light having wavelengths equivalent to fixtures in another     booth. The placement and intensity of light fixtures in one studio     booth replicates or reproduces the light found in another studio     booth. -   (2) Camera. Cameras of equivalent quality are utilized in each     studio booth or other location. -   (3) Microphones. Microphones of equivalent quality and sensitivity     are utilized in each booth. -   (4) Recording equipment. The equipment utilized to record signals     generated by cameras and microphones is of equivalent quality in     each studio booth or location. -   (5) Background music. Even though a song an individual is singing     during a recorded performance may vary, the quality of the     background music is relatively consistent, and the volume of the     background music with respect to the volume of the performer's voice     is the same in each studio booth or other location. The volume of a     performer's voice and/or background music may, if desired, be     adjusted so that the volumes are substantially equivalent, but if     this is done it is done in an equivalent manner in each booth. Such     a volume adjustment may be used if the performer's voice is softer     or is louder than the background or accompaniment music; however,     other modifications of a recorded performance are not currently     planned because it is desired to keep the recording of reach     performance as accurate as possible. If other modifications are     selected they are carried out in an equivalent manner in each booth. -   (6) Background scene or “set”. If there is a background provided     behind the performer—for example, a picture of the skyline of New     York city—the background in each studio booth is equivalent or of     equivalent quality.     Replicating in each booth equivalent recording conditions and     avoiding or minimizing modifications of the recorded performance     tends to give a fair representation of each performer.

Registration

Since each studio booth is sized to be utilized by only one or a few individuals at a time to record a performance, lines can form and waiting times can ensue before an individual can access a studio booth to make a recording. The studio booth of the invention addresses this problem by preferably, although not necessarily, providing each booth with a plurality of registration stations so that two or more individuals can simultaneously register to utilize the booth. In addition, when an individual registers he is provided with an estimated time when the booth will be available. This time is printed on an activation, or entry, card that is printed and provided to a customer when the customer registers. Further, when each individual enters and activates a booth with his or her activation card (described below), an individual has a set time to record a performance and leave the booth. By way of example, and not limitation, once an individual activates a booth, the individual is given thirty seconds to prepare for a recording, is given three minutes to make the recording, and is given an additional thirty seconds to complete the session and exit the booth. As the last thirty seconds of time expires, the lights in the booth fade, encouraging the user to exit the booth.

Access

When an individual is in a studio booth making a recording, signage on the exterior of the booth will light and state “STUDIO IN USE”, ‘RECORDING IN PROCESS”, “IN USE”, etc. This signage will deter individuals from entering the booth while another individual is recording a performance. The signage will not, however, stop everyone. Curious onlookers will be tempted to open the door to the booth to “take a peek” and can ruin a performance by opening the door. Importantly, to prevent such an occurrence, the access door on the booth automatically locks when the booth is activated with an activation card and can only be opened by the individual(s) in the booth. Alternatively, the door can be provided with a lock that is only operable from inside the booth so that an individual can lock and unlock the door once the individual is inside the booth.

Camera Control

The camera(s) in the studio booth can remain in a single stationary position, as is the case in other prior art recording booths. To enhance, however, the flexibility of the booth, it is preferred that the camera be adjustable in at least two of (1) up and down along a vertical axis, (2) rotationally about a vertical axis, (3) back and forth along a first horizontal axis parallel to the ground and generally normal to an individual in the booth, (4) rotationally about the first horizontal axis, (5) back and forth along a second horizontal axis normal to the first horizontal axis, (6) rotationally about the second horizontal axis, (7) back and forth along, or, rotationally about another selected axis, (8) focus or zoom, and (9) aperture setting. The camera utilized in the presently preferred embodiment of the invention is adjustable up and down along a vertical axis and the focus of the camera is adjustable. A joy stick is utilized. Moving the joy stick toward and away from an individual in the booth adjusts the camera up and down along the vertical axis. Moving the joy stick from side-to-side adjusts the focus or zoom of the camera. In FIG. 15, the camera is adjusted such that most of the individual in the booth is viewed by the camera 21 and is shown on display screen 25 and is, consequently, being recorded. In FIG. 16, the camera is adjusted such that is has zoomed in on and enlarged a portion of the individual shown in FIG. 15. Consequently, it is the enlarged portion that is being recorded. Having the ability to zoom in on a portion of an individual is important in the practice of the invention because it facilitates certain performances like, for example, modeling when a model may want a close-up of her face and another shot which shows her from head to toe. The zoom feature is also useful when an individual is conducting a video conference with a physician and the physician wishes to see, for example, a certain area on the individual's body.

Activation Card

An important feature of the invention is that the system utilized to provide an individual both with means to enter and activate a studio booth and with contest rules and disclaimers.

Once an individual registers and pays for right to enter the studio booth and record a performance, a printer in the studio booth prints and dispenses an activation card of the general type illustrated in FIG. 9. The activation card prints the name of the individual (Sandi Martin), the session or performance number (48) assigned to the individual, and informs the individual how the card is used to activate the individual's recording session once the individual enters the studio booth (i.e., insert the card into the slot inside the studio). The bar code or other activation code printed or formed on or in the activation card is read by the studio booth when the individual is in the booth and, as is described below, activate the booth for the individual's recording session. The reverse side of the activation card, illustrated in FIG. 10, sets forth the contest details, including the deadline (Jul. 31, 2000) for entering the contest, the fact that there will be a winner, where the winner's name can be found, the prize(s) awarded the winner ($25,000.00 and an all expense paid trip), a guideline as to how the individual's recording will be evaluated (performance reviewed for at least one minute), and a legal stipulation(s) or condition(s) associated with the contest. The guideline in FIG. 10 includes a contractual provision that notes that Interscope Records will own the individual's performance. This provision can, if desired, be expanded to commit the individual to a exclusive agency contract with the operator of booth 10 or with any other desired individual or entity. The exclusive agency contract can have any desired terms, including, for example, the length of time the contract is in force, financial terms, etc.

An exclusive agency or other contract can be entered into by an individual at some time after the individual records a performance in a booth 10. This typically would be the case after an individual is named a winner in a talent contest, modeling contest, singing contest, job application, etc.

The following example is given by way of illustration, and not limitation, of the invention.

EXAMPLE

A studio booth 10 is placed in a shopping center, airport, university campus or other public or non-public location. At 12:00 noon, an individual sees booth 10 and is initially attracted by the 3D projection 47 that is moving and appears to be suspended in space above the ground. The subject matter of projections 47 varies. At one instant, the projection 47 is of a food or other item that many individuals buy or use or like, for example a Coca-Cola bottle, an ice cream cone, a DVD of a popular movie, a likeness of a famous movie star, etc. In another instant, the projection 47 consists of an advertisement like “Buy Coca-cola” or “Fly American Airlines”. In another instant, the projection 47 describes the booth: “Studio One Recording”. The individual is attracted by the sight of an object apparently floating in space; is attracted by the potential desirability of the object itself; and, is attracted by the continuing alteration of what is being projected by display 34: first a desirable object is displayed, then an advertisement, then a description of the booth itself.

The individual approaches the registration station on the right of door 17 and sees on touch screen 13 the “WLECOME” information shown in the top illustration of screen 13 depicted in FIG. 11. Three illustrations of screen 13 are depicted in FIG. 11. The individual reads the “WELCOME” information and presses her finger against screen 13 over the “PRESS TO START” box. The “CHOOSE A SESSION” information shown in the middle illustration of screen 13 in FIG. 11 appears. The individual presses her finger against the screen 13 over the box to the left of “Record a performance; enter a contest” and then presses her finger against screen 13 over the “CONTINUE” box. The “CONTESTS FOR JULY” information shown in the lower, or third, illustration of screen 13 in FIG. 11 appears. The individual presses her finger against screen 13 over the box to the left of “Music: Interscope Records”. The “CONTEST INFORMATION” shown in the top illustration of screen 13 in FIG. 12 appears. The individual reads the information, and presses her finger against the screen 13 over the “CONTINUE” box. The “CONTEST RULES” information shown in the middle illustration of screen 13 in FIG. 12 appears. The individual reads the contest rules, and presses her finger against the screen 13 over the “CONTINUE” box. The “OPTIONAL INFORMATION” shown in the lower, or third, illustration of screen 13 in FIG. 12 appears. The individual enters her name, Sandi Martin; enters her e-mail address sandimartin@cox.net: and enters the email address of Interscope Records, interscoe@cox.net. Sandi then presses her finger against screen 13 over the “CONTINUE” box. The information shown in the top illustration of screen 13 in FIG. 13 appears. Sandi presses her finger against screen 13 over the box to the left of the “Yes” to answer the first question (Sandi is seventeen years old); and, presses her finger against screen 13 over the box to the left of the “Yes” to answer to the second question. She then presses her finger against screen 13 over the “CONTINUE” box. The “CHOOSE A SONG” information shown in the middle illustration of screen 13 in FIG. 13 appears. Sandi utilizes a keyboard that is positioned below screen 13 to enter “CLIMB EVERY MOUNTAIN”. She then depresses screen 13 over the “CONTINUE” box. The “WOULD YOU LIKE . . . ” information shown in the bottom, or third, illustration of screen 13 in FIG. 13 appears. She depresses screen 13 over the box to the left of “Yes” on the screen 13, and then depresses screen 13 over the “CONTINUE” box. The information shown in the top illustration of screen 13 in FIG. 14 appears. Sandi inserts her credit card in credit card reader 15. Her credit card information is transmitted via transceiver 20 (FIG. 6) to a remote location where the credit card charge is approved. The approval is transmitted back to booth 10 via transceiver and printer 82 prints and dispenses a receipt. Sandi takes the receipt. The printer 82 then prints and dispenses the activation card illustrated in FIGS. 9 and 10. When the activation card is dispensed, the “WELCOME” information shown in the bottom illustration of screen 13 in FIG. 14 appears. Sandi reads the card and notes that her performance number is 48; notes that she must insert the card in a slot inside the booth to activate her session; notes the bar code; and notes the contest details and disclaimers on the back of the activation card. The information shown in the bottom illustration of screen 13 in FIG. 14 appears. Sandi notes that the estimated time the booth will be ready for her session is 2:30 p.m. See looks up at screen 33. Displayed on screen 33 is “IN SESSION. NO. 35”.

Sandi leaves the booth 10 and returns at 2:25 p.m. Displayed on screen 33 is “IN SESSION. NO. 47”. After five minutes, an individual leaves the booth. Sandi enters and locks door 17 from inside the booth. She notes that there are two display screens 24, 25 inside the booth. Screen 24 displays the information shown in the top illustration of screen 24 in FIG. 7. She inserts her activation card in the slot inside booth 10. The information shown in the middle illustration of screen 24 in FIG. 7 appears. The visual display of time shown on screen 24 begins to count down: 30 29 28 27 26 25 . . . . Her image appears on screen 25 as shown in FIG. 15. Sandi utilizes joystick 26 (FIG. 15) to adjust the height and focus (zoom) of the camera 21 such that her image on screen is that depicted in FIG. 16. After the countdown on screen 24 (as illustrated in the middle illustration of FIG. 7) reaches zero, the information shown on screen 24 in FIG. 15 appears and the visual display of time on screen 24 begins to count down: 180, 179, 178, 177 . . . . The lyrics of the song she has chosen, although not visible in FIG. 15, appear on screen 25 to the right of her image. After the time count down on screen 24 reaches zero, the “YOUR PERFORMANCE IS COMPLETE” information shown in the bottom illustration of screen 24 in FIG. 7 appears. Sandi answers each question “Yes” by pressing screen 24 over the appropriate box. The “PLEASE . . . ” information on the screen 24 illustrated in FIG. 8 then appears. A DVD with her recorded performance is ejected from a DVD recorder slot in booth 10. The DVD recorder dispensing slot can also be located on the outside of booth 10 so that Sandi must exit the booth to collect the DVD. Sandi takes the DVD. She notes that she is to retain the activation card. She leaves the booth.

If, when Sandi was viewing the menu on the screen 13 that is at the bottom of FIG. 11, she had selected modeling, she would have been given, on a succeeding menu appearing on screen 13, the option of a still photo(s) or a video. Similarly, if, when Sandi was viewing the menu on the screen 13 that is in the middle of FIG. 11, she had selected “Have your photo taken”, the booth 10 would have taken a still photo(s) of her. In other words, camera 21 can be utilized to produce still photos or video of a performer(s). The video normally would, but not necessarily, include speaking or singing by the performer.

After Sandi has completed recording her performance and has left the booth, the computer control automatically forwards her performance and all demographic or other data associated with the performance to her e-mail address sandimarting@cox.net and to Interscope Records at interscope@cox.net. Interscope Records posts her performance on their web site to be accessed by Sandi and by members of the public. Members of the public have the opportunity of rating Sandi's performance on a scale of one to ten, with ten being the best and one being the worst. Interscope also has at least one its employees or independent contractors rate Sandi's performance on a scale of one to ten (one being the worst and ten being the best) for each of the following criteria:

-   -   A. Range of voice.     -   B. Staying on key.     -   C. Tempo: is the song sung with an acceptable tempo, or is it         too fast or too slow.     -   D. Tempo variation: is the tempo of the song varied to make         listening to the song more interesting.     -   E. Mannerisms while singing: i.e., do mannerisms adD or detract.     -   F. Distinctiveness of voice.     -   G. Purity, melodic sound of voice.     -   H. Projection of voice.     -   I. Enunciation: is the song understandable.     -   J. Appearance of singer's face: does audience want to look at         and watch the singer.         Interscope also has at least one of its employees or independent         contractors act as a contest judge and compare Sandi's         performance to the performances of other individuals that have         recorded a performance in a booth 10 and entered Interscope's         contest. The contest judge picks 1^(st), 2^(nd), and 3^(rd)         place winners in the contest. The judge(s) is free to utilize         any criteria the judge wishes to pick a winner. Or,         alternatively, Interscope suggests or requires the judge to         utilize certain criteria in selecting a contest winner.         Interscope notifies the winners by e-mail and on its web site.         Sandi is the 1^(st) place winner. She is awarded $25,000.00 and         an all expense paid trip to California to audition live for         Interscope. She auditions for Interscope in California. As a         result, Interscope offers her a $1,000,000.00 one year exclusive         recording contract. She accepts and signs the contract.

In another embodiment of the invention, the performances used during a contest are not conducted in booths located in public venues or traffic areas, but are conducted in a plurality of booths or studios located inside buildings, in non-public areas, or in areas where there is little or no public foot traffic. Such non-public recording studios still preferably utilize a uniform, consistent set of recording variables, an activation card, and other components of the invention.

When an individual utilizes a booth 10, the charge for utilizing the booth can vary as desired. It is, however, presently preferred that the cost be nominal to encourage a high volume use of booths 10. A presently preferred charge for a 3 minute recording session is $20.00.

The Studio Booth as an Access Portal

In a further embodiment of the invention, the studio booths of the invention are utilized by individuals as portals to access a personal relationship service like a dating or match-making service, to access an employment agency, to access a medical facility like a hospital or physician's office, or to access another desired service or organization. As is illustrated in FIG. 18, an individual first utilizes a studio booth 10 to produced a recorded performance 80. By way of example and not limitation, the performance can comprise the individual giving answers during an interview, comprise a speech by the individual describing the individual's characteristics, comprise the individual singing a song, comprise the individual modeling, or comprise the individual sitting for a still photograph. Such a recording is accomplished utilizing (1) the camera sub-routine 70 and audio-visual sub-routine 69 (FIG. 5) to control the position and focus of the camera (and possibly the microphones and lighting) and to generate signals and recording data 65 defining the recording. The recording is then transmitted by booth 10 to a job placement agency 76, to a personal relationships agency 77, to a medical facility, or to another desired location 79. Other required data or information typically is transmitted along with the recorded performance 80. Such data can vary as desired but can, by way of example, include the individual's name, address, age, phone number, vocational interests, e-mail address, resume, likes and dislikes and hobbies or other areas of interest, personality profile, likes and dislikes with respect to the personality and interests of other individuals, etc. The job placement agency 76, personal relationships agency 77 or medical facility 78 then contacts the individual, or vice-versa, to exchange additional information about the services provided, the charges of the dating service, or about the individual.

The use of the booth of the invention as an access portal appears to be a particularly advantageous way of enticing an individual to access a personal relationships service comprising a dating or match making service. Alternatively, after an individual has made an initial contact with a job placement agency 76, personal relationships agency 77, medical facility 78, or other organization 79, the individual can subsequently produce in booth 10 a recorded performance 80 and have the booth 10 transmit the performance to the agency 76 or 77, medical facility 78, etc.

When booth 10 is utilized as an access portal to a dating or match making service, one particular advantage of booth 10 is that it produces an accurate photographic record of the individual in the booth and, as a result, functions as an independent verification of the appearance of the individual. This is important because one primary problem encountered by dating or match-making services is that pictures submitted by potential clients often do not fairly represent the actual appearance of the individual.

The Studio Booth as Prescription Dispensation Station

One particular embodiment of the invention comprises utilizing studio booth 10 to dispense prescriptions in the manner illustrated in FIG. 17. After an individual utilizes the booth 10 to conduct an audiovisual conference or audio conference with physician that is at a location remote from the individual, the physician 83 can utilize a stylus 82 or other instrument to write and sign a prescription on a touch sensitive screen 84. Any other desired equipment can be utilized by a physician 83 to prepare necessary data to define and transmit a prescription to a desired location. The prescription, along with any other information needed to print the prescription (for example, the name and address of the physician's practice) is transmitted by a transceiver 20A at the remote location to the transceiver 20 in the studio 10. The transceiver 20 forwards the medical data 64 in the computer memory in booth 10. The computer control, via printer sub-routine 71, transmits the medical data to printer 26 in booth 10 to print the prescription. A hard paper copy of the prescription is printed and dispensed by printer 26. In addition to dispensing a hard copy comprised of paper, booth 10 can be equipped to dispense a hard copy comprising a DVD or other disc or media that can be utilized by the patient to print a prescription or that can read or otherwise utilized by a pharmacy to fill the prescription for the patient. The DVD or disc or other media can be programmed such that the disc can be read only once and/or can be used to print only one copy of the prescription. Alternatively, the patient's booth 10 (or the physician's booth 10) can be located in or adjacent or near a retail or wholesale store that includes a pharmacy. After an audiovisual or audio conference between the physician and patient, the physician can transmit a prescription directly to the pharmacy in the store. The patient can then, when the patient's booth is located in the store, step out of the booth, wait while his or her prescription is filled, and then pickup the prescription from the pharmacy. Locating the booth 10 utilized by the patient in a store with a pharmacy is particularly advantageous because the patient can both carry out his conference with a physician and immediately have a prescription transmitted to the store. The prescription can be transmitted to the pharmacy from the patient's booth 10 or from the physician's booth 10. The prescription can be transmitted from a booth 10 to the pharmacy via wireless signals, over a fiber optic line, over an electrical wire, via satellite, etc.

One advantage of booth 10 is that during the individual's conference with a physician, the camera transmits the patient's picture and voice to the physician. The camera can be adjusted to zoom in or transmit particular areas of the patient's body or to view and transmit other information to the physician or other heath care professional. The bar code (or other identification code or system) on or embedded in the prescription can be utilized to track prescriptions to help insure that they are legitimately issued on an as need basis to patients and to insure that the dispensation of habit forming and other drugs is monitored and controlled. In one embodiment of the invention, any prescription issued by a physician via booths 10 to a patient or directly to a pharmacy is also entered in a computer server accessible by the physician and by the pharmacy. When a patient presents a prescription to a pharmacy (or when the pharmacy receives a prescription via signals from a booth 10), computer equipment at the pharmacy reads the bar code on the prescription, queries the computer server, and confirms that the prescription has been issued, the name of the attending physician, the name of the patient, and the drug to be issued under the prescription.

In some cases audio transmission between the patient in one booth 10 and the physician in another booth 10 may be sufficient so that a video transmission between the booths is not required. It is presently preferred, however, the any audio transmission between a physician and a patient include a video feed such that the physician can see and at least to some extent evaluate the appearance of the patient.

The video conferencing feature of booth 10 can be utilized in conjunction with any of the other functions of booth 10 described herein. For example, when an individual is performing (and also, if desired, recording the performance), the performance may be viewed by another person(s) with whom the individual is conducting a video conference. The other person(s) can be, by way of example and not limitation, a family member, a talent scout, a physician, a modeling agency, a personal relationship agency, etc.

The Remote Studio Booth as Means for Establishing Ownership and Confidentiality for Performer.

One important feature that is preferably, but not necessarily, included in or associated with each remote recording booth is establishing ownership of a performer in a performance recorded in the booth and establishing control of confidentiality of the performance in the hands of the performer. If a performer utilizes music or lyrics or a background picture or design that is provided in and by booth 10 but is protected under copyright law, then the performer does not own all rights to his or her performance. The performer can only own the rights to copy, distribute, and sell his or her performance if an appropriate copyright license or assignment is obtained from the owner of the music or lyrics or background design, and, as well, from the owner of the recording studio based upon the owner's copyright in recording engineering provided by the studio booth 10. Addressing this problem is one important feature of the invention.

It is preferred that the studio owner assign or license his copyright interest to the performer and, importantly, agree to attend to payment of the necessary copyright licensing fees (through ASCAP or other suitable copyright licensing agencies) for the music, lyrics, or background picture utilized in the recording booth during the performance. Licensing by the studio owner from ASCAP, etc. of music, lyrics, and background pictures is preferably accomplished by the studio owner prior to a performer utilizing the remote recording booth.

Further, it is preferred that the studio booth owner agrees that—aside from the music, lyrics, background picture, and recording engineering—the performance is entirely owned by the performer.

Still further, it is preferred that the studio booth owner agrees that the performance is confidential and will not be distributed without the approval of the performer.

Yet further, it is preferred that if the performer agrees to have his or her performance transmitted to a remote location or to a web site owned by the studio owner or another individual, the performance is maintained in confidence at said remote location until the performer authorizes distribution or viewing of the performance at the remote location.

Yet still further, if a performance is transmitted to a remote web site or other location, and the performer elects to incorporate the performance in a personal web site comparable to the numerous “MY SPACE” web sites now existing on the Internet, the performer can still control confidentiality of the performance on his or her personal web site by limiting access to the personal web site.

The foregoing ownership and confidentiality provision are believed important factors in connection with the practicality of operating the remote studio booth. If the copyright ownership is not addressed, then it may be left to the performer to obtain the proper copyright licenses. It is unlikely a performers would undertake or now how to undertake obtaining a copyright license. This would mean that the performance violated copyright law and that the owner of the studio booth can be implicated in violating copyright law. This would expose the performer and studio owner to a lawsuit. In accordance with the invention, the solution to this problem is to secure copyright license before a work is utilized in the studio booth and/or for the studio owner to assign or license to the performer any copyright interest of the studio owner in the performance. This problem does not appear to have been previously addressed.

FIG. 19 illustrates one possible confidentiality-ownership flowchart in connection with the use of a studio or recording booth of the invention. In FIG. 19, it is assumed that the entity Studio One is the owner of the recording booth 166. The user records a performance in recording booth 166. Per an agreement entered into by the user at the booth, or at another location where the user obtains an activation card, (1) the user owns the performance and can grant Studio One or another entity conducting a contest via the booth a license to use the performance, or (2) Studio One can own the performance. The activation card utilized in the recording booth includes a user identification (ID) code. Studio One tracks and pays, preferably prior to use of the recording booth to record a performance, any copyright license fees due for use of music, lyrics, or other copywritten works in the booth.

A user's confidential performance 161 is produced in the booth, and the user preferably is granted control over when and where and if the performance is published or transmitted. The user can elect in the booth, or at another designated location remote from the booth, to have the user's performance 161 transmitted to a contest web site or server 175 or to the Studio One web site 167. At web site 167 the performance can, at the election of the user, remain confidential 170. Alternatively, at the web site the user can access his or her performance 169 utilizing the user ID code from the activation card and can amend 174 the confidentiality of the performance.

One way the user amends the confidentiality of the performance is to allow 164 public access to the performance.

Another way the user amends the confidentiality of the performance is to allow 163 access by designated entities.

A further way the user amends the confidentiality of the performance is to incorporate 162 the performance is a separate user's web site for access by designated parties. The separate user's web site can be operated on a server provided by Studio One or can be operated elsewhere. The user may elect to have the separate user's web site accessed only by user or only by a limited number of other parties or by the public.

Still another way the user amends the confidentiality of the performance is to allow 165 the performance to be utilized in a TV program, DVD, or other media distributed to a selected audience(s).

FIG. 20 illustrates the first phase, namely the RECORDING BOOTH: PRE-PERFORMANCE phase 180 in the recording booth, in another ownership-confidentiality embodiment of the invention. In the pre-performance phase 180, Studio One (the owner of the recording booth) notifies the user, either during registration (at the booth, on the Internet, etc.) or when the user is in the booth, that (1) the user owns the recorded performance including any copyright interest of Studio One in the performance, (2) Studio One tracks and pays on behalf of the user copyright license fees for the user's performance in connection with music, lyrics, artistic backgrounds, etc. provided by and used in the recording booth. Alternatively, although not presently preferred, Studio One can claim ownership of all or some of the rights in the user's performance.

During the pre-performance phase 180, the recording equipment in the recording booth scans and retains the user ID code on the user's activation card.

During the pre-performance phase 180, either during registration or while in the recording booth, the user typically agrees to transmit the performance to the Studio One web site, to a contest web site, or to another location.

During the pre-performance phase 180, the user can allow or agree to (1) public access to the performance, (2) access by a limited number of designated parties to the performance, (3) incorporation the performance in the user's web site (via the Studio One web site, via e-mail, or via another transmission), (4) using the performance in a TV show, DVD, or other media, (5) use of the performance in a contest, (6) other use of the performance, or (7) not allow the performance to be used or viewed.

After the pre-performance phase, the next phase is illustrated in FIG. 21 and consists of the RECORDING BOOTH: RECORDATION OF PERFORMANCE phase 181 in the recording booth. The user conducts a performance that is recorded by equipment in the recording booth.

After the recordation of performance phase 181, the user may elect not to amend 182 the transmission and access selected by the user prior to recordation of the performance. In this case, the user's confidential performance 184 can, for example, be transmitted to the Studio One web site/server 185, to a contest web site/server 186, or to another selected destination.

Alternatively, the user may elect to amend 183 the transmission or access that was selected by the user prior to recordation of the performance. In this case, any of the amendments illustrated in FIG. 22, RECORDING BOOTH: POST PERFORMANCE AMENDMENTS 187, may be selected.

In FIG. 22, possible amendment of transmission selections earlier made by the user can include cancelling the transmission of the performance to (a) Studio One web site/server, (b) contest web site/server, or (c) another destination. The amendment transmission elections can also include the election to transmit the performance to a Studio One “MY SPACE” (SM) type web site or another designated location.

Possible amendments of access selections or choices earlier made by the user can include cancelling (a) public access, (b) access by a limited number of designated parties, (c) use of performance in a TV show, DVD, or other media, (d) use of performance in a contest, or (e) other use. The amendment of access selections earlier made can also include (a) permitting access to the recorded performance in a Studio One web site, (c) permitting access to a job interviewer, (d) permitting public access, (e) permitting access by a limited number of designated parties, (f) permitting use of the performance in a TV show, DVD, or other media, (g) permitting use of the performance in a contest, or (h) permitting another use.

After the POST PERFORMANCE phase 182, 183 in the recording booth, the next phase is the STUDIO ONE WEB SITE: POST PERFORMANCE phase 188 at the Studio One web site or at another designated location.

When the user accesses the Studio One web site utilizing the user ID code provided at the recording booth, the user can elect not to amend the transmission or access selections that the user made at the recording booth.

The user can elect to amend the transmission elections made at the recording booth. Such amendments can comprise cancelling transmission of the performance to a contest web site/server or other destination, or, permitting transmission of the performance to a Studio One “MY SPACE”™ type web site or to another destination.

The user can also elect to amend the access selections that were made at the recording booth. Such amendments can comprises canceling public access; canceling access by a limited number of designated parties; canceling use of the performance in a TV show, DVD, or other media; canceling use of the performance in a contest; or, canceling other uses of the performance.

The Remote Booth as a Means to Participate in a Game of Chance

The remote studio booth 10 of the invention is believed to be well suited to conducting a game of chance with a gambling entity like a remote casino. The booth permits a user to participate in real time gambling and also provides a variety of avenues to insure that the user is of age, to insure the user's identity, and to insure that the gambling is legitimate and can be monitored by the proper governmental and regulatory authorities.

EXAMPLE

A studio booth 10 is placed in a shopping center, airport, university campus or other public or non-public location.

An individual approaches the registration station on the right of door 17 and sees on touch screen 13 the “WELCOME” information shown in the top illustration of screen 13 depicted in FIG. 24. Three illustrations of screen 13 are depicted in FIG. 24. The individual reads the “WELCOME” information and presses her finger against screen 13 over the “PRESS TO START” box. The “CHOOSE A SESSION” information shown in the middle illustration of screen 13 in FIG. 24 appears. The individual presses her finger against the screen 13 over the box to the left of “

♦♡

Video conference with casino to play Game of Chance” and then presses her finger against screen 13 over the “CONTINUE” box. The “SELECT A CASINO” information shown in the lower, or third, illustration of screen 13 in FIG. 24 appears. The individual presses her finger against screen 13 over the box to the left of “Blue Nickel”. “THE BLUE NICKEL WELCOMES YOU!” display shown in the top illustration of screen 13 in FIG. 25 appears. The individual reads the information, and uses the keyboard at the registration station to enter her account number and password. The display shown in the middle illustration of screen 13 in FIG. 25 appears. This display confirms that the account number and password have been verified and asks the individual to utilize the fingerprint or optical scanner that is provided at the registration station. She places her finger against the fingerprint scanner. The display shown in the bottom illustration of screen 13 in FIG. 25 appears. This screen confirms that her identity has been confirmed and that any transactions she has with the Blue Nickel may be monitored by IRS or other government or regulatory agencies; and, also confirms that any winnings will be sent to her account within seven (7) days. Other alternatives that can, if desired, be provided to the individual to collect winnings are (a) printing a receipt (inside or outside of the booth) that is taken by the individual to another location for redemption, (b) dispensing a debit card, or, (c) dispensing the winnings at the booth from a currency dispensing machine located at the booth.

The individual presses the screen over the “CONTINUE” box. The printer 82 then prints and dispenses the activation card illustrated in FIGS. 27 and 28.

When the activation card is dispensed, the “WELCOME” information shown in the illustration of screen 13 in FIG. 26 appears. The information in FIG. 26 notes the time the booth will be ready for Sandi's session and notes that the casino employee must be able to view Sandi when she is in the booth.

Sandi reads the side of the activation card depicted in FIG. 27 and notes that her performance number is 52; notes that she must insert the card in a slot inside the booth to activate her session; notes the bar code or other identification code imprinted on the card (not shown in FIG. 27); and notes the contest details and disclaimers on the back of the activation card. FIG. 28 illustrates the back of the activation card.

Sandi note the time is 1.05 p.m. and again notes that the estimated time the booth 10 will be ready for her session is 3:30 p.m. See looks up at screen 33. Displayed on screen 33 is “IN SESSION. NO. 37”.

Sandi leaves the booth 10 and returns at 3:25 p.m. Displayed on screen 33 is “IN SESSION. NO. 51”. After five minutes, an individual leaves the booth. Sandi enters and locks door 17 from inside the booth. She notes that there are two display screens 24, 25 inside the booth. Screen 24 displays the information shown in the top illustration of screen 24 in FIG. 29. Screen 25 displays and image of her standing, or sitting, in the booth. She inserts her activation card in the slot inside booth 10. The information shown in the bottom illustration of screen 24 in FIG. 29 appears. The visual display of time shown on screen 24 begins to count down: 30 29 28 27 26 25 . . . . During the thirty second count down, Sandi utilizes joystick 26 (FIG. 15) or other controls provided inside the booth 10 to adjust the height and focus (zoom) of the camera 21 such that her image on screen 25 is that depicted in FIG. 30. After the countdown on screen 24 reaches zero, the image of a Blue Nickel employee named Sally appears on screen 24 as shown in FIG. 24. Sally's voice is produced by a speaker in booth 10.

-   -   Sally: Good afternoon Sandi. I'm Sally at the Blue Nickel. You         look nice today.     -   Sandi: Thank you.         Sandi's voice and image are detected by audio visual equipment         in booth 10 and transmitted to Sally's casino so Sally can view         and hear Sandi.     -   Sally: Would you please let me verify your identity again by         placing your forefinger on the fingerprint scanner in the booth?     -   Sandi: O.K.         Sandi places her finger on the fingerprint scanner 51.     -   Sally: Looks good, Sandi. I have your account information,         including a credit card that we can use, if necessary, to bill         you. What would you like to do today?     -   Sandi: Is it possible to play a slot machine?     -   Sally: Yes. I can place a display of the machine on the screen         once you tell me which machine. We have 25 cent, one dollar, and         five dollar slot machines. You push the “ENTER” button on your         keyboard each time you want to play. Your credit card will be         automatically billed for the amount of your bets at the end of         the game. And, of course, your winnings will be transmitted to         your account. At the end of the game, the printer in your booth         will print a receipt showing how much you bet and lost in total         and how much you won total, along with the last four digits of         your account number, the date, the time, the “BLUE NICKEL” logo         and address, and your name.     -   Sandi: O.K. How about roulette?     -   Sally: Yes. I can place a picture of the roulette table on the         screen. To enter the number (or numbers) you want to bet on you         type in, for example, “10”, followed by pressing the enter key,         followed by typing in the amount of money you want to bet,         followed by pressing the enter key. You do that for each number         individually: enter the number and enter the amount of the bet         on the number. If the number and the amount you want to bet are         not entered by the time the roulette wheel is turned, your bet         doesn't count. At the end of your game, the printer in your         booth will print a receipt shown how much you bet and lost total         and how much you won total, along with the last four digits of         your account number, the date, the time, the “BLUE NICKEL” logo         and address, and your name.     -   Sandi: OK. I'd just like to bet $1,000.00 on Blue Note to finish         second in the fifth race today at the Blue Nickel Race Track.     -   Sally: It's done. Is your receipt printing out?     -   Sandi: Yes.     -   Sally: Does it show that you bet $1,000.00 on Blue Note to         finish second in the fifth race today at the Blue Nickel Race         Track?     -   Sandi: Yes it does.     -   Sally: Don't lose that receipt. If Blue Note comes in second,         your winnings will be forwarded to your account. Is there         anything else I can help you with?     -   Sandi: No thank you.     -   Sally: Thank you for your business, Sandi. Good-bye.     -   Sandi: Good-bye.         Sally's image disappears from screen 24. Sandi takes her receipt         and leaves the booth 10.         Performance-Driven Super Network with Recording Booth Nexus

In another important embodiment of the invention, recording booth 10 is the nexus of a wide ranging network of nodes to promote or advertise a product or service. The network can be described by the coined words “super network” because of the potentially vast size of the network and of the multitude of advertising opportunities that such a network could provide. The network derives from and is driven by performances recorded in one or more booths 10. Any company or companies could advertise on such a network. In the following discussion, however, it is assumed that GENESIS is an Internet search engine comparable to GOOGLE™, and that GENESIS has purchased the sole right to advertise on the network. It is also assumed that the company STUDIO ONE is the owner and operator of each booth 10 and is the owner/operator of the STUDIO ONE Internet web site.

A. Pre-Performance Network Nodes

Potential pre-performance nodes in the network are illustrated in FIG. 31 and include registration 100 at the Studio One Internet web site, a virtual tour 101 of booth 10 at the Studio One Internet web site 101, registration 103 on site at the Studio One booth 10, and promotional banner and screens 104 on the exterior of the booth 10. The manner in which GENESIS advertises at each node can vary as desired, but the following examples are provided.

When an individual registers on-line at the Internet web site of Studio One, the promotional message “Powered by GENESIS®” can appear on menus or displays that appears on an individual's computer screen when the individual is registering. FIG. 36 illustrates the first three menus which could appear when the individual is registering on the Internet to utilize a Studio One booth 10. When the individual begins the registration procedure on the Internet, the top menu in FIG. 36 appears. This menu begins “WELCOME! TO STUDIO ONE”. The individual causes the top menu to disappear and the next (middle) menu to appear by using his/her mouse to click on the “PRESS TO START” box. The middle menu appears. The middle menu includes the heading “CHOOSE A SESSION”. After the individual selects a session, the individual causes the middle menu to disappear by using his/her mouse to click on the “CONTINUE” box. The middle menu disappears from the screen and the lower menu in FIG. 36 appears. And so on during the registration process. Each of the menus includes advertising for GENESIS in the form of the promotional message “Powdered by GENESIS®”. Advertising or promotional material of GENESIS can, of course, take any desired form.

In FIG. 31, the recording booth includes a traveling banner that extends around the top of the booth. The promotional message “Powered by GENESIS®” can, as illustrated in FIG. 31, appear in the traveling banner. Other advertising for GENESIS can appear in other ones of the exterior displays or display screens on recording booth 10.

When an individual is taking a virtual tour of the recording booth 10 at the Studio One web site, advertising material for GENESIS can be included in renditions of booth 10, of display screens, of registration procedures, etc.

B. Network Nodes Available During Recordation of Performance

Potential nodes in the network that are available during the recordation in booth 10 of a performance are illustrated in FIG. 32 and include activation card 105 and display screens inside the Studio One booth 106. The manner in which GENESIS advertises at each such node can vary as desired, but the following examples are provided.

The activation card can, as illustrated in FIG. 35, include the promotional message “Powered by GENESIS®”. When the individual possessing the card inserts the card inside booth 10, it is likely that the individual will consciously or subconsciously view that promotional message.

Display screens inside booth 10 can include GENESIS advertising material. FIG. 34 illustrates a sequence of three menus that can appear when an individual is inside booth 10 to record a performance. The top menu in FIG. 34 includes the heading “WELCOME!”. After the individual follows the instructions set forth in the top menu and inserts her activation card, the top menu disappears and the middle menu appears. The middle menu includes the heading “SANDI MARTIN”. After Sandi Martin completes her performance, the bottom menu in FIG. 34 appears. This menu includes the heading “YOUR PERFORMANCE IS COMPLETE”. Each of the menus in FIG. 34 includes the promotional message “Powered by GENESIS®”. Any desired visual, audio or other advertising material for GENESIS can be included or incorporated in a menu or in any other display that appears on a screen or other area in booth 10 (or in another network node).

C. Network Nodes Available Post-Performance

FIG. 33 illustrates potential post-performance nodes in the network which arise after an individual has recorded a performance in a booth 10. These nodes include, without limitation, the Studio One web site (where an individual views his or her recorded performance 107), a MYSTUDIO personal web site hosted by Studio One 108, a contest provider's web site/location 109, a personal relationship web site 110, a medical facility web site 111, a pharmacy web site 113, an employment agency web site 112, the web site 115 of a friend or family member of the individual who records his or her performance in booth 10, a casino web site/location 114, and the web site of a potential employer 116.

With respect to node 107, an individual visits the Studio One web site after the individual has recorded a performance in booth 10 and has elected to have the performance transmitted to the Studio One web site for viewing by the individual. When the individual views his performance, the promotional phrase “Powered by GENESIS®” (or other desired GENESIS advertising material) can appear at the beginning of the performance or at any other desired location in the performance or in the Studio One web site. In one particular embodiment of the invention, the promotional phrase “Powdered by GENESIS®” (or other desired advertising material) travels along with the recorded performance so that whenever the performance is played or viewed, said promotional phrase appears at least temporarily during the performance.

With respect to node 108, an individual may elect to have her or his own MYSTUDIO personal web site which can be used to communicate with others on the Internet and on which the individual can incorporate any desired pictures, music, film clips, etc. The individual can store on his MYSTUDIO personal web site the performance(s) that the individual recorded in booth 10. The promotional phrase “Powered by GENESIS®” can appear on the personal web site, can appear in the recorded performance, etc.

With respect to node 109, when a performance recorded in booth 10 is received at the web site or other location of a contest provider to be viewed by the contest provider or the provider's agent, the promotional phrase “Powered by GENESIS®” can travel along with and appear at least temporarily during viewing of the recorded performance. Similarly, the promotional phrase “Powered by GENESIS®” can travel along with and appear in the recorded performance when the recorded performance is viewed at a node 110 to 116.

The personal relationship web site 110 can comprise a web site where individuals submit personal information in an attempt to find an individual to date, to marry, etc. As earlier noted herein, a recording booth 10 can serve as a portal to such a web site. The booth 10 can be the “first stop” for an individual in the sense that the individual can record a performance in booth 10, enter appropriate information, and have the recorded performance and appropriate information transmitted to the personal relationship web site to register for the first time with the personal relationship web site 110. In another embodiment of the invention, an individual has previously registered and established an account with the personal relationship web site 110 prior to utilizing booth 10, and, a performance subsequently recorded in booth 10 is be transmitted to the personal relationship web site 110 for incorporation in the individual's previously established account. When an individual's recorded performance is transmitted to a personal relationship web site, it normally is with the understanding that the performance can be viewed by customers or other individuals accessing the web site 110 in an attempt to find an individual to date, to marry, etc.

When booth 10 is utilized for a real time video conference with another individual at a casino 144, at a hospital or pharmacy or other medical facility, at an employment agency, etc., the video of the individual in booth 10 that is viewed by the individual at the casino, medical facility, etc. can include (typically in a fashion that does not interfere with conducting the video conference) the byline “Powered by GENESIS®” or can include other desired material advertising or promoting GENESIS.

When the performance recorded in booth 10 consists of a still photograph, the byline “Powered by GENESIS®” can be included at the bottom or on the rear of the photograph, preferably in a fashion not to interfere with the desired effect of the photograph.

One preferred feature of the network of the invention is that it is likely that many of the nodes in the network, and therefore the advertising associated with the nodes, will be viewed by a great many individuals, as is reflected in Table I below.

TABLE I Potential Viewing Audience of Network Nodes Node Audience 100: Registration at Performers Studio One Internet site 101: Virtual Tour of Performers; Public Studio One booth at Internet site 104: Promotional Screens Performers; Public on Exterior of Booth 103: Registration on site Performers at Studio One Booth 105: Activation Cards Performers 106: Display Screens on Performers site inside Studio One Booth 107: Studio One web site Performers; Public to view recorded performance 108: MYSTUDIO web Performers; Public site hosted by Studio One 109: Contest Providers Employees of Contest web site/location Provider; Public 111: Medical facility Physician; Other Medical Personnel 112: Employment agency Employment agency web site/location personnel; various employers 113: Pharmacy web site Pharmacist 114: Casino web site Casino employees 115: Friends; family members Friends; family members 116: Wet site of potential Employers personnel employer department

The recording booths 10 and the performances recorded in the booths 10 are the glue that link together the various nodes in the network and create the network of the invention. Incorporating promotional material into the network produces a promotion network with an unusually large audience, which promotional network can be particularly effective when the number of companies or individuals advertising on the network is limited. Although the number of advertisers on the network can be any desired number, in one embodiment of the invention, the number of advertisers is in the range of one to five, preferably in the range of one to two, and most preferably is one.

Definition of Performance Format and Integration of Scenic Environmental Backdrop

Another important feature of the invention which would, as is the case with other features of the invention herein, standing alone significantly improve the commercial viability and practicality of using booth 10, is the system for formatting a performance.

The first step in formatting a performance is to define the kind of performance by placing it in a desired category that will include only a portion of performances recorded in booths 10. Such categories can be defined as desired; however, the following is provided by way of example.

One category of performances can comprise all performances entered into a 1^(st) contest. Consequently, each performance for the 1^(st) contest comprises one kind of performance. A second category of performances can comprise all performances entered in a 2^(nd) contest different from the 1^(st) contest. Consequently, each performance for the 2^(nd) contest comprises a second kind of performance. A third category of performances can comprise all performances for a still “full body” photo shot for a model. Consequently, each still “full body” photo for a model comprises a third kind of performance. A fourth category of performances can comprise family portrait. Consequently, each family portrait comprises a fourth kind of performance. A fifth category of performances can comprise an interview or other performance that is to be submitted to apply for a job. Consequently, each performance that is to be submitted for a job comprises a fifth kind of performance. A sixth category of performances can comprises a performance that is to be submitted to a personal relationship web site to advertise for a mate or date. Consequently, each performance for a personal relationship web site comprises a sixth kind of performance.

Once the kind of performance is defined, the performance is further formatted by selecting at least one scenic environmental backdrop for that kind of performance. The backdrop is selected by determining a selected geographical locale, if any, and by determining the desired makeup or content of the backdrop. For example, any performance that is to be submitted in a category comprising a 1^(st) contest may require a specific backdrop that is associated with the geographical locale of Hollywood, Calif. and that has a desired content comprising a sound stage at a particular studio in Hollywood. Any performance that is to be submitted in a category comprising a 2^(nd) contest may require a specific backdrop that is associated with the geographical locale of Hawaii and that has a desired content comprising a particular beach in Hawaii as the desired makeup of the backdrop. Any performance that is to be submitted in a category comprising a full body shot of a model may not require any particular geographical locale and may require a desired content comprising a stage runway of the type utilized for models at a fashion show. Any performance to be submitted in a category comprising family portraits may not require any particular geographical locale and may require a simple white background as the desired content of the backdrop. Any performance to be submitted in a category comprising a job interview may not require any particular geographical locale and may require an office background with an American flag as the desired content of the backdrop.

Once the desired content of the scenic backdrop is determined, formatting of the performance is continued by preparing an analog or digital image of the backdrop. This is typically accomplished by taking a photograph of the particular stage, beach, etc. that is selected, but can also be accomplished by designing a backdrop on a computer or by any other desired means.

After the image of the backdrop is prepared, formatting of the performance is completed by storing for recall the image in a digital or analog or other format. In one embodiment of the invention, the image of the backdrop is stored digitally, on tape, etc. at the website of the owner or operator of booth 10 and is transmitted to booth 10 when that particular backdrop image is selected for a particular kind of performance in the booth by an individual(s). In another embodiment of the invention, the image of the backdrop is stored at booth 10 in memory in a graphics source computer 140 (FIG. 46) or is stored at booth 10 in any other desired format.

When an individual utilizing booth 10 registers either at the booth 10, on-line at a web site, or at another desired location, a plurality of performance categories are provided from which the individual can select at least one category. As noted, by way of example and not limitation, such categories can comprise a 1^(st) contest, 2^(nd) contest, full body model shot, family portrait, etc. Consequently, when the individual selects a particular category, the kind of performance is selected. In one embodiment of the invention, simply selecting the kind of performance can determine the scenic backdrop that will be utilized. For example, if an individual selects a contest, the contest may require use of a scenic backdrop with a geographical locale in New York City and a desired makeup consisting of the skyline 133 of New York City; and, when the individual conducts his or her performance in booth 10, that performance automatically incorporates that particular backdrop 133 into the individual's performance. In a further embodiment of the invention, when backdrop 133 is recalled during an individual's performance, then during the performance the backdrop 133 appears on screen 25 along with the individual 132 such that the individual can view both simultaneously in the manner illustrated in FIG. 38.

In a further embodiment of the invention, when an individual selects a kind of performance while registering to utilize a booth 10, the individual may be given the option of selecting a scenic backdrop from a list of two or more backdrops. For example, if the individual selects a performance which consists of the individual being photographed with a celebrity, a list of possible celebrities appears. The list may include, for example, Paris Hilton, Jennifer Aniston, and Brad Pitt. The individual selects one celebrity from the list. If the individual selects Jennifer Aniston, then when the individual's performance begins, a backdrop including a picture of Jennifer Aniston is utilized and preferably appears on screen 25 along with the individual so that the individual can position herself or himself with respect to the picture of Jennifer Aniston.

The integration of a scenic backdrop with an individual's performance is explained in more detail with reference to FIGS. 37, 38 and 46. For purposes of the remainder of the discussion with respect to FIGS. 37, 38 and 46, the name of the individual 132 is Sandi Martin. When Sandi registers to utilize booth 10, she selects a modeling contest. The kind of performance required by the contest comprises a full body still shot (the contest can, if desired, permit a contestant to select one kind of performance from a menu of two or more different kinds of performances and submit the selected performance to be judged in the contest against other kinds of performances that are noted on the menu and are submitted by other contestants.) The entity conducting the modeling contest earlier formatted Sandi's kind of performance by selecting and storing for recall a single backdrop 133 (two or more backdrops could have, if desired, been selected and a contestant given the opportunity to select only one of the backdrops for the contest.) with a locale of New York City and a desired content consisting of a portion of the skyline of New York. When Sandi selects the modeling contest, this backdrop is automatically designated and selected by the control system in booth 10 to be utilized in conjunction with Sandi's modeling performance. The backdrop 133 is stored, normally along with other different backdrops for other kinds of performances, in graphics source 140 (FIG. 6). During Sandi's 132 modeling performance in booth 10, she stands in front of and stands on a screen 131 in the manner illustrated in FIG. 37. Screen 131 can be any desired color(s) and have any desired design. For example, the screen can comprise a wall with a vertical surface painted green or blue or another selected color. Or, the screen can comprise a wall with a white vertical surface that appears green or blue or another color because a green light, blue light, etc. is directed at the wall to illuminate the wall and make the wall appear green or blue. In one important embodiment of the invention, the screen comprises a “Chroma Key” screen. The fabric or other material comprising such screens ordinarily has a green or blue or gray color. The green and blue colored screens are typically more difficult to utilize because the lighting must be carefully adjusted to illuminate uniformly the entire screen. The preferred “Chroma Key” screen is a CHROMATTE™ fabric screen produced by Reflecmedia EMEA of Road One, Winsford Ind. Est., Winsford, Cheshire, CW7 3QQ, United Kingdom, www.reflecmedia.com. The fabric comprising a CHROMATTE™ screen is, in contrast to conventional blue and green colored materials, gray.

A gray CHROMATTE™ fabric screen contains millions of tiny glass beads that act as reflectors and return light that emanates from a source toward the screen. The light is reflected from the screen back toward the source of the light. Consequently, if in FIG. 37 a ring of small green lights is placed adjacent and extends circumferentially around the lens of camera 21, light from the ring travels toward a screen 131 consisting of CHROMATTE™ fabric, and is reflected from screen 131 back to the camera lens. The screen 131 therefore appears to camera 21 to be green. If light from the ring were blue, the screen 131 would appear to the camera to be blue. If light from the ring were orange, the screen 131 would appear to the camera to be orange. And so on. A CHROMATTE™ fabric screen 131 produces a uniform green, blue, etc. background behind an individual like Sandi Martin that is standing intermediate camera 21 and screen 131.

As is illustrated in FIG. 37, the screen material preferably extends from the vertical wall behind Sandi 132 and onto the horizontally oriented floor of booth 10 so that the floor beneath Sandi 132 appears to have the same color as the wall behind Sandi.

As is shown in FIG. 36, during Sandi's modeling performance, camera 21 produces signals representing Sandi 132 and the blue or green colored screen 131 behind Sandi 132. These signals are transmitted to a key card 141. The signals from camera 21 can also include audio signals produced by a microphone that monitors speech, singing, etc. by Sandi 132. Similarly, signals representing the backdrop 133 selected for Sandi's performance are transmitted from graphics source 140 to key card 141. As noted earlier, the backdrop 133 for Sandi's performance normally is selected when Sandi registers to utilize a booth 10 to record one of her performances. The backdrop 133 is selected by the control system in booth 10 either automatically as a result of the kind of performance selected by Sandi or by Sandi if a selection of two or more backdrops is offered Sandi for a particular kind of performance. Key card 141 combines the signals from camera 21 and from graphics source 140 and transmits a composite signal to chroma key 142 processor. Processor 142 incorporates backdrop 133 to produce a chroma key still picture or audio visual signal that depicts backdrop 133 in all areas of the still picture or video that are not occupied by Sandi. The finalized chroma key still picture or audio visual signal can be transmitted directly to screen 25 for viewing by Sandi 132 while she records her performance. The finalized chroma key signal can also be transmitted to a recording system 143 (or any other desired recipient or location) for storage in the memory of system 143, and the finalized chroma key signal can be transmitted from system 143 and booth 10 to a selected recipient like the web site of the operator or owner of booth 10. The finalized chroma key signal is also transmitted to a DVD recorder/writer 145 in booth 10 that produces and dispenses a DVD 146 containing Sandi's performance. The DVD 146 can be dispensed into a pick-up tray at any desired location inside or outside of booth 10, but is presently dispensed into a pick-up tray located on the exterior of booth 10 such that Sandi has to exit booth 10 and walk on the exterior of booth 10 to the DVD pick-up tray.

The foregoing paragraph describes process of sending signals from camera 21 and graphics source 140 to key card 141, of sending signals from card 141 to chroma key 142 processor, of sending signals from processor 142 to system 143, of sending signals from system 143 to DVD recorder/writer 145, and of producing and dispensing a DVD. Importantly, this entire process preferably happens automatically, which is critical to producing and dispensing promptly a DVD of a performance just concluded by an individual inside booth 10. During a performance, signals can continuously flow from camera 21 and source 140 through to recorder/writer 145 such that portions of the performance are being recorded and written on a DVD at the same time the remainder of the performance takes place and such that recording the last portion of the performance on the DVD occurs at about the same time or soon after the performance is completed; or, alternatively, the performance can be stored at card 141, key 142, system 143, DVD recorder/writer 145 or another point along the processing path and only be written and recorded on a DVD after the entire performance is concluded. Minimizing the amount of time an individual spends in booth 10 is important in enhancing the commercial viability of booth 10.

Providing Portrait and Landscape Picture Outputs

Camera 21 is shown in more detail in FIGS. 40 to 43 and includes Fujinon SDTV lens 134, camera body 135 and rotary table 137. Camera 21 moves vertically up and down along rail box 136 in the manner indicated by arrows 139 in FIG. 41. Such vertical movement of camera 21 is controlled by an individual inside booth 10 using a joystick or another desired control unit. The longitudinal axis of camera 21 is presently generally perpendicular to an individual 132 in booth 10 and to the vertically oriented portion of screen 131. If desired, a system can be provided to tilt camera 21 upwardly in the manner indicated by arrow 146 in FIG. 42, or to tilt the camera downwardly, so that longitudinal axis of the camera is at an angle with respect to the vertically oriented portion of screen 131 or to an individual 132 standing in booth 10.

As is indicated by arrows 138 in FIG. 41, table 137 rotates lens 134 and body 135 through ninety degrees of travel between two operative positions. In the first operative position, camera 21 produces a “landscape” picture of an individual standing inside booth 21 that is the type of picture shown in display screen 25 in FIG. 30 and that, accordingly, includes about 50% to 75% of the person's body. Since an individual controlling the vertical position of camera 21 normally wants to include his or her head in the picture, what is depicted on screen 25 when camera 21 is in the first operative position typically comprises 50% to 75% of the person's body beginning with the head and extending a limited distance down the person's body.

When camera 21 is rotated ninety degrees from the first to the second operative position, camera 21 produces a “portrait” picture of the full body of an individual standing in booth 10. The picture produced by camera 21 would, if transmitted direction to display screen 25 without processing, appear in the manner depicted in FIG. 45, with the individual 132 horizontally oriented on her side. In order to compensate for this, software or other controls rotate by ninety degrees the picture produced by camera 21. This software or control can be located in key card 141 or chroma key 142 or at another location before the finalized chroma key signal is received and displayed by display screen 25. As a result, when the full body picture reaches screen 25 and recording system 142, it is upright in the manner illustrated in FIG. 38.

A mock-up of an Internet home page of the type that can be utilized by the owner or operator of one or more booths 10 is illustrated in FIG. 44. The STUDIO ONE home page in FIG. 44 is operated in conventional manner by inserting, if necessary, required information and by then clicking on desired portions of the web page to go to the next associated web page. For example, in the lower left corner of the web page of FIG. 44, the words “Activation Code #” appear in an information box. The user would use his mouse to click on the box and then use his or her keyboard to insert the activation number in the box, after which he or she clicks on the “GO” button to the right of the box to go to an area of the web site that would have his or her performance that was recorded in booth 10 in connection with the activation card. For example, if after she conducted and recorded her Performance No. 52 in a booth 10, Sandi Martin retained the activation card illustrated in FIG. 27, she would insert in the “Activation Code #” information box in FIG. 44 her activation number of 562389XT (FIG. 27), and with her mouse click on the “GO” button to the right of the information box to go to an area of the web site that stored and would play her performance.

Similarly, in the lower left hand corner of the web page of FIG. 44 there are boxes containing “Username” and “Password”. Sandi could type in these boxes her user name and password to access another portion of the web site, which portion could comprise a “MYSTUDIO” web site similar to MY PLACE™ or to other “personal” web sites that permit individuals to list information about themselves and communicate with individuals at other similar web site.

As is illustrated in FIG. 39, once an individual utilizes an activation code to access a performance 118 that is at the STUDIO ONE web site, the individual can elect to transmit 122 the performance to the individual's personal MYSTUDIO web site. In another embodiment of the invention, after identifying 123 one or more on-going contests or possible recipients at the STUDIO ONE web site or another web site, the individual can transmit 124 a performance to a contest or other recipient a performance stored at the STUDIO ONE web site in order to enter such contests. The STUDIO ONE web site can agree to store for a selected limited period of time or for an indefinite period of time a performance conducted and recorded by an individual in a booth 10.

In a further embodiment of the invention, if the individual has a performance transmitted to and stored at his or her personal MYSTUDIO web site (or to a personal web site of some other name), then after identifying 125 one or more contests 128, 129 or other potential recipients 130, the individual can transmit 126 the performance from his or her personal web site to selected contest(s) or recipient(s) for consideration by the contest(s) or recipient(s). In this manner, the individual can utilize over and over a performance professionally recorded in a booth 10. This embodiment of the invention is important because the ability to use conveniently over and over a recorded performance helps to guarantee that the MY STUDIO web site 44 and/or MYSTUDIO web site will continue to generate traffic visiting the web sites.

Transmission of a Live or Delayed Broadcast

In a further embodiment of the invention illustrated in FIG. 47, audio and video of an interviewer at a remote location is received by the transceiver 147 of a studio booth and is displayed on the interior of the booth such that the video of the interviewer appears on a screen 150 inside the booth and a customer (i.e., a performer) inside the studio booth views screen 150 and hears the interviewer. At the same time, the camera-microphone system inside the studio booth produces audio and video of the customer in the booth and transmits the same to a screen and audio speaker located adjacent the interviewer such that the interviewer can, at the same time the customer is viewing and listening to the interviewer, view and listen to the customer. In this fashion, the interviewer can conduct an interview of the customer. The interview can be broadcast 149 to a plurality of remote television, computer, or other display screens 151, 152, 153. The broadcast can be accomplished via cable, satellite, etc. utilizing fiber optic, infrared, or any other electromagnetic signals.

Transmission of a Performance to a Cell Phone or Other Remote Mobile Media Player

In another embodiment of the invention illustrated in FIG. 48, a performance 155 recorded in a studio booth 10 is transmitted via a transceiver 154 at, in, or adjacent the booth 10. The performance is sent via cable, satellite, cell phones transmission towers, etc. utilizing fiber optic, infrared, or any other electromagnetic signals. The performance is transmitted to a cell phone or other remote mobile media player 150, to an Internet website 157, or to a receiver at another selected destination 158.

Transmission of a Performance from a Remote Mobile Media Player to a Studio Booth

In another embodiment of the invention illustrated in FIG. 49, a performance 159 is sent from a remote mobile medal player 160 to a transceiver 154 in, at, or adjacent a studio booth 10. The performance is transmitted from player 160 via cable, satellite, cell phones transmission towers, etc. utilizing fiber optic, infrared, or any other electromagnetic signals. The performance can also be transmitted to a web site 161 or to a processing location operated by the owner or operator of the booth 10, which owner in FIG. 49 is designated Studio One.

Selection of Auxiliary Sound Accompaniment in Studio Booth

In one embodiment of the invention illustrated in FIG. 50, a customer registering to use a studio booth 10 is provided with the option of selecting auxiliary sound effects. FIG. 50 illustrates one of a variety of scenarios that can be provided a customer when the customer is registering to use the booth, or, is inside the booth ready to record a performance. In FIG. 50, it is assumed that the customer is at a location outside the booth and is registering to use the booth to record a performance. One location of the customer outside the booth is at one of the registration stations provided at the booth. Another possible location of the customer outside the booth is at the customer's computer where he is registering at an Internet web site to use the booth to record a performance.

In FIG. 50, during the registration process the customer is given the option in interactive screen display 163 to select a song. After the customer selects a song and presses his finger against the display screen over “CONTINUE”, the next display 164 appears on the display screen. Display 164 gives the customer the option of selecting an auxiliary sound effect. The customer makes a selection by pressing his finger over the box at the end of one or more of the selections shown on display 164. By way of example, and not limitation, the customer presses screen over the box preceding “Applause at the beginning of performance” and presses the screen over the box preceding “Applause at end of performance”, after which he presses the screen over “CONTINUE” to cause the next display 165 to appear on the screen. Display 165 permits the customer to, if he wishes, hear a preview of the sound effect, after which the customer presses the screen over “CONTINUE” to cause the next display to appear.

The Illusion

One of the advantages of the studio booth of the invention is that it produces a still photograph or video that realistically makes it appear that the customer(s) (i.e., performer(s)) utilizing the booth are not in the limited confines of the booth but instead are at a location having a scenic backdrop that is much larger and much different in appearance than the inside of the booth. Various features of the booth of the invention are critical in producing this illusion.

-   -   A. Restricted Size of Studio Booth. The studio booth occupies a         spatial volume that fits within a footprint volume defined as         bounded by a horizontally oriented polygonal footprint area on         the floor or ground—the footprint having a perimeter—and bounded         by vertically oriented footprint planes that are normal to the         ground and extend upwardly from each side of the footprint         perimeter. For example, if the studio booth is shaped like a         cube ten feet on a side, the spatial volume occupied by the         booth is 10×10×10=1000 cubic feet. The footprint planes each         extend upwardly to a height equivalent to the height of a studio         booth. The height of the booth can vary as desired. The polygon         is a simple convex polygon like a triangle, rectangle (including         a square), pentagon, hexagon, octagon, etc. The polygon has a         width and has a length that is normal to the width. At least         either the length or width is measured along a line parallel to         one side of the polygon. The width and the length each span the         complete distance from one side or point of the polygon to the         other side or point of the polygon. The studio booth fits within         said footprint volume when substantially the entire spatial         volume occupied by the studio booth fits within said footprint         volume. Substantially the entire spatial volume of the studio         booth fits within the footprint volume when at least ninety-five         percent of the total spatial volume occupied by the studio booth         fits within the footprint volume.         -   In FIG. 52, the polygonal footprint area 172 comprises a             hexagon having a width indicated by arrows 174 and a length             indicated by arrows 175. The base 173 of a studio booth lies             within the perimeter of hexagonal area 172. The portions             (not shown) of the studio booth extending upwardly from base             173 do not extend laterally outwardly from base 173,             consequently, the entire volume of the studio booth lies             within the footprint volume.         -   In FIG. 53, the polygonal footprint area 177 comprises a             rectangle (i.e., a square) having a width indicated by             arrows 179 and a length indicated by arrows 180. The base             178 of a studio booth lies within the perimeter of             rectangular footprint area 177. The portions (not shown) of             the studio booth extending upwardly from base 178 do not             extend laterally outwardly from base 178, consequently, the             entire volume of the studio booth lies within the footprint             volume.         -   In FIG. 54, the polygonal footprint area 182 comprises a             triangle having a width indicated by arrows 164 and a length             indicated by arrows 185. The base 183 of a studio booth lies             within the perimeter of the polygonal triangle area 182.             Portions (not shown) of the studio booth extending upwardly             from base extend laterally outwardly from base 183. The             portions account for twenty percent of the total spatial             volume occupied by the studio booth. Of the portions the             extend laterally outwardly from base 183, half of the             spatial volume of these portions extend outwardly past the             vertical footprint planes that extend upwardly from the             sides comprising the perimeter of triangular area 182.             Consequently, ten percent of the volume of the studio booth             extends outwardly past and away from the footprint volume.             This means that substantially the entire volume of the             studio booth does not lie within the footprint volume.         -   If the width and height of each of the footprint areas in             FIGS. 52 to 53 is identical, then base 178 of the studio             booth of FIG. 53 fits within the footprint volume associated             with the rectangular footprint area 177 but does not fit             within the footprint volume associated with the triangular             footprint area 182 of FIG. 54. As long as the spatial volume             of the studio booth of FIG. 53 fits substantially in at             least one footprint volume having a simple convex polygonal             cross section with a prescribed width and length, then the             studio booth is deemed to fit in a footprint volume. The             fact that the spatial volume of a studio booth does not fit             in one footprint volume having a polygonal cross section             with the designated width and length is of no moment as long             as the spatial volume of the booth fits into a differently             shaped footprint volume having a polygonal cross section             with the designated width and length.         -   In one preferred embodiment of the invention, a studio booth             lies substantially within a footprint volume in which the             polygon is a square having sides each ten feet long. Being             able to record a performance in such a small booth and to             produce a realistic appearing illusion that the individual             is in an area with a much larger background is difficult.         -   In another preferred embodiment of the invention, the             polygon utilized to determine a footprint volume can not             have an excessively small width in comparison to the length             of polygon. Otherwise, utilizing a relatively small studio             booth is impractical. Consequently, the polygon should have             dimensional parity. Dimensional parity requires the polygon             to have a width that is not greatly different from the             length of the polygon, which means that in order for the             polygon to have dimensional parity, the ratio of the width             of the polygon to the length of the polygon is in the range             of 1:0.5 to 1:2, preferably 1:0.75 to 1:1.25, and most             preferably 1:0.8 to 1:1.2.     -   B. Subject Perspective Distortion.         -   Since a performance by a customer (i.e., performer) in a             studio booth is being photographed in a small space, subject             perspective distortion can inadvertently be easily achieved.             Subject perspective distortion occurs when one portion of a             performer's body is sized out of proportion with respect to             another portion of a performer's body. If, for example, the             performer's nose or face appears abnormally large with             respect to the remainder of the performer's body, then             subject perspective distortion has occurred.         -   In accordance with the invention, one important step in             minimizing subject perspective distortion is to define a             minimum distance that a performer 132 must be from the             camera 21 in the booth 10. In a booth constructed in             accordance with the invention, in particular in a booth that             fits within a footprint volume in which the polygon is a             rectangle having sides each ten feet long, this minimum             distance is indicated by arrows 151 in FIG. 51 and is equal             to three feet.         -   Another important step in minimizing subject perspective             distortion pertains to the camera lens utilized in the             practice of the invention. While the field of view of the             lens can vary as described, the lens of camera 21 preferably             has a horizontal field of view (indicated by arrows 172 in             FIG. 51) in the range of fifty-two degrees to sixty-six             degrees. The field of view of a camera ordinarily is a             function of three parameters:         -   1. The dimensions of the film format or image sensor;         -   2. The focal length of the photographic lens projecting the             image; and,         -   3. The kind and degree of distortion of the lens.         -   If a lens projects rectilinear (non-spatially-distorted)             image, the film format or image sensor dimensions completely             define the angle of view for any given lens focal length.             Field of view is usually measured one of three ways:         -   1. Horizontally (from the left to right edge of the frame).         -   2. Vertically (from the top to bottom of the frame).         -   3. Diagonally (from one upper corner of the frame to its             opposite lower corner).         -   Lens are often referred to by terms that express their field             of view.         -   1. Ultra wide-angle lenses, also know as fisheye lenses,             cover up to 180 degree, or even wider in special cases.         -   2. Wide-angle lenses generally cover between 100 and 60             degrees.         -   3. Normal, or Standard lenses generally cover between 50 and             25 degrees.         -   4. Telephoto lenses generally cover between 15 and 10             degrees.         -   5. Super telephoto lenses generally cover between eight             degrees through less than one degree.         -   6. Zoom lenses are a special case wherein the focal length,             and hence angle of view, of the lens can be altered             mechanically without removing the lense from the camera.     -   C. Subject-Background Correlation Distortion. Subject-background         correlation distortion occurs when the spacing between the         performer(s) and background appears abnormal (i.e., either too         close together or to far apart), and/or, the performer appears         abnormally large or small with respect to the background. For         example, if a recording produced in a studio booth shows a         German Shepard dog standing behind a performer and the dog is as         tall as the performed, then the performer appears abnormally         small in comparison to the dog and there is subject-background         correlation distortion. Or, if a recording produced in a studio         booth shows a performer standing on a beach in the ocean surf,         and it appears that there are several palm trees lined up one         behind the other just behind the performer, this is         subject-background correlation distortion because even though it         may be possible for palm trees to be growing one-behind the         other on the beach close to the surf, such is highly unlikely         and looks abnormal.         -   One principal way of minimizing subject-background             correlation distortion is to, after selecting a scenic             background that can be incorporated in a performance             recorded in a studio booth, actually viewing the scenic             background in combination with a performer recorded in the             booth to determine if the performer-background combination             looks normal. When the performer-background combination is             viewed, it is important to view the combination at a normal             viewing distance of at least twelve inches away from the             combination, preferably a viewing distance in the range of             twelve to twenty-four inches. Viewing a still photograph or             video at an abnormal distance can make the photograph or             video appear abnormal.         -   Another way of minimizing subject-background correlation             distortion is to pre-select one or more backgrounds and             require that a performer utilize one of the pre-selected             backgrounds. The pre-selected backgrounds typically, but not             necessarily, are selected to correlate with or relate to a             particular kind of performance or event. For example, if a             performer is participating in a contest, then the owners or             operators of the contest can select backgrounds that relate             to the contest. If the contest is a singing contest, the             backgrounds may each consist of a stage or stage setting             that makes it appear that the performer is singing on a             stage in an auditorium. If the performer is conducting an             interview for a job, the background(s) selected may consist             of a conference room setting or a restaurant settings.         -   A further way of minimizing subject-background correlation             distortion, and of minimizing subject distortion, is to             pre-select a camera setting(s) that must be used by a             performer. For example, if a performer is participating in a             singing contest, then the owners or operators of the contest             can select a camera lens setting or camera position the will             show the entire body of a performer that is participating in             the contest. If a performer is participating in a modeling             contest, then the owners or operators of the contest can, if             desired, select a camera setting that will only show the             head and shoulders of a performer that is participating in             the contest. When a camera setting is pre-selected, this             setting can be imposed on a performer in any desired manner.             For example, when a performer registers to record for a             contest a performance in a studio booth the software             utilized in the booth can automatically set the camera lens             or other adjustable portion of the camera at the             pre-selected setting and not permit the performer to adjust             the camera. Or, when a performer registers to record a             performance, the performer can utilize a touch screen that             is located inside the booth to select one of two or more             camera positions that are offered under contest rules. Once             the performer selects a camera setting, the control software             in the booth functions to cause the camera to adjust itself             to the selected setting. Or, when a performer registers to             record a performance, the performer can adjust the camera             setting from inside the booth, but the booth control system             will not allow the performer to record a performance until             the performer adjusts the camera to a position that was             pre-selected for the contest.

Low Resolution Transmission

Immediately after, soon after (i.e., within thirty minutes, preferably within fifteen minutes, most preferably within five minutes following the conclusion of the performance—unless the performer elects at the booth to cancel or not transmit the performance), or while a performance is recorded in a studio booth 10, the performance is initially transmitted to a web site owned by the owner or operator of the booth or is transmitted to another designated location. This initial transmission typically is done is a low resolution format, which format is less than 1080 lines of horizontal resolution. The performance is temporarily stored in computer memory at the booth in a high resolution format comprising 1080 or more lines of horizontal resolution. The performance is later transmitted (typically at night), if desired, in a high resolution format. The low resolution-high resolution transmission dichotomy is believed important to the practical and economical utilization of the invention because it facilitates the prompt transmission at likely a relatively low cost in a low resolution format (typically during daytime or evening hours) while preserving a high resolution format of the performance in the event such is needed.

Two-Way Transmission of Content

The economic viability of a studio booth 10 constructed in accordance with the invention is enhanced because the booth 10 produces and transmits to selected locations remote from the booth 10 content in the form of performances by customer utilizing the booth while the booth 10, at the same time, receives advertising and other content that is shown on video displays 12, 32, 43, 44 on the exterior or interior of the booth and/or that is heard audibly on speakers located on the exterior or interior of the booth

Evaluation of Performance on the Merits

Another embodiment of the invention enables a performer to request a substantive or other review of a performance. For example, in the middle menu entitled “CHOOSE A SESSION” in FIG. 11, one of the selections offered could be:

-   -   Have your performance evaluated.         If the performer makes this selection, a subsequent menu or         display allows the performer to enter a postal address, e-mail,         cell phone number, etc. to which the evaluation report is         forwarded. The report can be transmitted in a printed format,         or, the evaluator can contact the performer directly and provide         a verbal report If desired, the performer can be asked to pay an         additional fee for the evaluation. The evaluation can take any         desired form. For example, if the performer is singing, the         evaluation could comprise comments on (1) whether the performer         remained on key, (2) the “warmth” of the singer's voice, (3) the         uniqueness of the singer's voice, (4) the singer's diction, (5)         the singer's hand motions, (6) the singer's clothing, (7) the         singer's facial expressions, (8) the singer's hair style and, if         any, makeup, (9) the singer's pacing of the song, (10) how the         singer ended the song, (11) whether the singer conveyed a         desirable mood.

FIG. 55 is a flow diagram illustrating an audio-visual processing system that can be utilized in the invention.

Audio-Video Processing at Remote Booth

High definition (HD) signals from the camera 21 in booth 10 and from the chroma key computer background generator 142 are transmitted to switcher/keyer 190 and then to flash encoder 191. The switcher keyer 190 functions to substitute the computer generated background from generator 142 for the green background that is in booth 10 and that camera 21 captures while a performer is conducting a performance in booth 10 in front of the green background.

The sound produced by a performer singing or speaking in booth 10 is detected by microphones 23. Microphones 23 generate signals to the master audio computer sound card 187. Master audio card 187 includes computer 188 that can compress sound, equalize sound, add reverb to sound, incorporate delay into a sound pattern, and can include multi-band limiters. Reverb is added to sound detected by microphones 23 and transmitted to card 187 only when the performer in the booth 10 is singing. If a performer is singing there can be a significant amount of reverb. If a performer is talking there will usually be less reverb than if the performer is singing. It is, however, possible that there might be zero reverb on somebody speaking. If someone playing a guitar (it plugged into modeler to give a good sound) In some cases reverb might not be necessary. Music (which can include instrumental and/or vocal) selected by the performer, or, in some cases by the booth proprietor to be utilized for a particular contest or recording in booth 10, is produced by music computer 189 and transmitted to card 187. Music computer includes audio computer sound card 189A. Card 187 plays the music over speakers 186 in booth 10 during a performance by the performer, and, after the performance is recorded, generates an audio signal that includes the music used during the performance and the performer's vocal recorded by the microphone during the performance. This audio signal is transmitted to flash encoder 191 and to Mpeg2 encoder 195. The audio signal can be transmitted to Mpeg2 encoder by being transmitted to encoder 191 and by simply passing through encoder 191 to the Mpeg2 encoder. One of speakers 186 in booth 10 preferably is out of phase with the another speakers in the booth. The speakers in the booth include at least one speaker (preferably at least two) which produces high and mid-range frequencies and include at least one speaker (a subwuffer) which produces low range frequencies. Normally one high, mid-range frequency speaker is out of phase with at least one other high, mid-range frequency speaker in the booth. This decreases the volume of sound, or leakage, into the microphone, but doesn't appear to the performer in the booth to lower significantly the volume of the accompaniment music.

The flash encoder 191 utilizes a Digital Rapids DRC5650 transcode PC1X card In conjunction with a computer in the encoder that has a quad core processor with four gigs of RAM and three (3) 10,000 RPM 500 gigabyte hard drives each striped at RAID0 at 128 kilobyte clusters which equals a writing speed of about 212 megabytes per second. Encoder 191 can encode high definition video signals into flash ON2VP6 files. Other software equipment which can, if desired, be utilized as a flash encoder 191 that receives audio and video signals includes Adobe flash software programs and a CuCuSoftVideo converter.

Flash encoder 191 produces a 1500 KBPS (kilobytes per second) flash file 192 that is transmitted to a computer server to be stored for future Internet viewings for a customer. The file 192 is 820×460 pixels, although the pixel count in this and other files produced in booth 10 and elsewhere in the system of the invention can vary as desired. Encoder 191 also produces a 600 KBPS flash file 193 that is transmitted to a computer server for use on the Internet. Flash file 193 is 535×300 pixels. A common known dimension for a HD (High Definition) signal is 1920×1080 pixels.

Encoder 191 can also produce a signal 194 to encoder 195. Encoder 195 produces a H.264 file 196 that is 480×270 pixels and is transmitted to a computer server for transmission from the server to a cell telephone. Encoder 195 also produces a signal 197 to a DVD master computer 198. Computer 198 is operatively associated with DVD burner 199 to produce a DVD 200 of each performance by a performer in booth 10.

The audio-video processing system depicted in FIG. 55 approaches real time processing and permits a performance to be recorded and transmitted to a server by encoders 191 and 195 within five to ten minutes after the performance is completed.

One key for the quality of sound achieved in the recording booth 10 is finding an equalizer setting that is broad enough for any type of singer. Because the sound of a booth and the sound of the microphone vary so much, as do the singer/musician/karaoke music/and home recordings, one way to create a well rounded equalizer setting is to:

-   -   1. Use a microphone with a narrow pickup pattern that only         pickups the performers voice plus a small proportion of the         booth background noise. For example, such a microphone is the         Shure Ksm27 Condenser™ microphone.     -   2. Use an equalizer such as the UAD Vst Plug-in Cambridge™ or         Waves Vst Plug-in Rennasance Equalizer™, or, a hardware         equalizer.     -   3. Use a sound card ASIO (Audio Signal In & Out) 187 that         amplifies the microphone signal allowing a gain amplitude that         is in a working range of approximately 12 dB to 18 db (a minimum         of 12 db and a maximum of 18 db). In other words, the gain         amplitude range is set at 12 dB to 18 dB. Examples of sound card         ASIO devices include the Motu™ traveler, Motu™ 828, or the         Digidesign Mbox™. The sound card 187 functions as a pre-amp that         is set at one gain so the card can handle loud or soft vocal         produced by a large cross section of people. If the sound card         is set at 18 dB, incoming vocal that is below 18 dB is         manipulated to bring it up to an 18 dB level. If a 20 dB         microphone signal comes in, the sound card 187 only allows a 18         dB signal to enter to be processed by other components of the         card.     -   4. Use a Digital Platform Mixer like Steinberg Cubase SX4 ™,         Nuendo3™, or even Digital Performer™. Level controls are         utilized to achieve a volume level that is comparable to the         average volume level of a store bought CD. The average volume of         music and vocal as seen on a VU meter is high without         compromising or distorting the sound quality.

Another key for the quality of sound achieved is to minimize the pick from by the booth microphone of sound produced by speakers in the booth. Such pick up of sound by the booth microphone is termed leakage. Leakage is minimized by using one or more speakers that produce full frequency sound. After the audio portion of a performance is picked up by the microphone(s) in the booth, the subwuffer portion is substantially dipped out or removed from the recording by an equalizer in audio computer 188. Typically about 50% to 80% of the amplitude of the subwuffer sound, preferably 50% to 90%, is removed. Another way that leakage is minimized is, as noted, by setting one of the high-mid range frequency speakers, out of phase with the other high mid range frequency speaker.

A further important key to achieving the desired quality of sound is being able to automatically level the gain or volume both of the music and of the vocal of the performer in booth 10 within a selected dynamic range. The music can be produced by an instrument played by the performer, from a CD provided by the performer and played in the booth using a CD player and speaker in the booth, or, can be digitized music provided by a computer in the booth and played over speakers in the booth. The dynamic range for the vocal portion of a performance extends over a 10 dB range, preferably over a 8 dB range, and most preferably over a 5 dB range. On a digital sound scale of +10 dB to −40 dB, said dynamic range for the vocal portion of the performance originates at and extends downwardly from a starting point that begins at 0 dB to −5 dB. Consequently, if the selected dynamic range for the vocal portion of the performance is 8 dB, and the selected beginning point on the digital sound volume scale is −2 dB, then the dynamic range for the vocal portion of the performance would extend from −2 dB to −10 dB (i.e., would extend over 8 dB). Or, if the selected dynamic range for the vocal portion of the performance is 5 dB, and the selected beginning point on the digital sound volume scale is 0 dB, then the dynamic range for the vocal portion of the performance would extend from 0 dB to −5 dB.

Once the dynamic range is selected for the vocal portion of a performance, the dynamic range for the music is typically generally equivalent to the vocal portion. The voice is usually 3 dB to 4 dB louder than the track. Meeting this dynamic range criteria for a performer is readily achieved in most cases, but, however, there can be extreme cases in which a performer sings very softly and in which it is difficult or not, practically speaking, possible to get within a designated dynamic range. Or, if the dynamic range for the music portion is selected first, then the dynamic range for the vocal portion of the performance is generally equivalent. For example, if the selected dynamic range for the vocal portion of the performance is 6 dB, if the selected beginning point on the digital sound volume scale is −3 dB, and if the dynamic range for the vocal portion therefore extends from −3 db to −9 dB; then, the selected dynamic range for the music portion of the performance is 6 dB, the selected beginning point on the digital sound volume scale is −3 dB, and the dynamic range for the music extends from −3 dB to −9 dB.

Importantly, in most cases the vocal is, however, preferably approximately at least 3 dB to 4 dB louder than the music, and some extreme cases the vocal can be up to 10 dB louder than the music. The music normally is not louder than the vocal portion of the performance. Loudness is gauged at the time a note is initially sung (in the case of the performer's vocal) or at the time a note(s) is initially played or sung (in the case of instrumental or vocal music that is accompanying the performer).

Another key to producing a high quality sound in booth 10 comprises removing mid-range frequencies from the music or reducing the amplitude of mid-range frequencies in the music and the subsequently incorporating equivalent mid-range frequencies into the final vocal-music signal. Consequently, the final signal includes three components, (1) the vocal portion recorded by the microphone and including selected mid-range frequencies in the vocal portion the amplitude of which has been increased, (2) the track (the music or accompaniment portion with the amplitude of certain mid-range frequencies reduced) recorded by the microphone (in the case of a performer playing an instrument) or recorded by the audio system in the booth in the case of a CD being played or music being provided by a computer in the booth, (3) and selected mid range frequencies incorporated into the final signal. The principle of the invention being applied in this respect is the idea of adjusting the amplitude of selected sound frequencies of the vocal to complement selected sound frequencies in the music. This can be accomplished by simply varying the amplitude of certain frequencies in the music or vocal portion of the performance. For example, mid-range frequencies of the vocal can have a significantly greater amplitude than similar mid-range frequencies in the music. This can also be accomplished by simply reducing the amplitude of certain mid-range frequencies in the music (accompaniment) portion of the performance. And, as noted, once the amplitude of selected mid-range (or other) frequencies is reduced in the music that accompanies the performer's vocal, the amplitude of selected mid-range frequencies in the vocal can be increased to minimize competition between the vocal and accompaniment frequencies.

Still a further key to achieving the desired quality of sound is a combination of reverb, delay and EQ of these effects combined with or sent over the vocal or on the vocal channel. This combination is broad enough to work for all types of singers. The pre-delay on the reverb is about 100 to 175 milliseconds, preferably about 120 to 155 milliseconds, and most preferably about 125 to 145 seconds. The particular preferred reverb is the Waves VST Plugin Renaissance Rverb. Another is the Audio Ease VST Plugin by Altiverb. Automatic gain control is achieved using Waves VST Plugin MaxVolume & NeuStar made by Nueral Audio.

Another advantage of the booth of the invention is the ability to turn large high definition files into small files that are transmitted to an Internet web site. This is accomplished with the encoder 191, 195 system described above.

The web site utilized in conjunction with booth 10 enables a user to accomplish many tasks at the web site. For example, a user can view flash files without having to download the flash files to their computer. A user can customize his or her profile page with having to go to another site and without having 3rd party editing. A user can sell products on the web site without having to go to another web site.

Chroma Key Screen Advance

The use of the chroma key technique, along with an appropriate chroma key backdrop, or screen 131 is discussed earlier herein with reference to FIGS. 36 and 37.

During the chroma key technique, two images are blended and then a color, or small color range, from one image is (1) removed or made transparent to reveal another image behind it, or is (2) replaced with another desired background image(s). The background image(s) can be still or move.

In a digital color TV or other digital video system, color is represented by a triple of numbers (red, green, blue). Chroma key is achieved by a simple numerical comparison between an original video and the preselected color (for example, green). If the color at a particular point on the original video matches (either exactly, or falls within a range) the preselected color (for example, green), then at that point the video is replaced by an alternate background video—i.e., the alternate background video replaces the portion of the original video that shows the green screen behind one or more performers that are in booth 10 standing in front of the green 131 or that are standing in front of the green screen 131 at some location other than booth 10.

Chroma key screens 131 can be any desired color(s) but typically comprise a screen that is either completely green or completely blue. Conventional chroma key systems utilize light that is reflected off a chroma key screen and into the lens of a camera.

An improved chroma key screen has been discovered that does not reflect light off a screen and that consistently produces over the surface of a screen 131 light that has uniform intensity and is free of shadows.

As is illustrated in FIG. 56, the improved screen 131 utilized in booth 10 comprises a panel 210 and a transparent or translucent film 214. The panel 210 is positioned behind the film 214.

The panel 210 includes a back 211 and a front light transmission surface 212. Light generated by panel 210 is transmitted outwardly through front surface 212, substrate 213 (if a substrate is utilized), through film 214, and toward a camera 21 in the direction and manner indicated by arrow 215 in FIG. 56. The film 214 can be directly connected or affixed to the front surface 212 of panel 214 or can be spaced apart from the panel 210. The film 214 is adjacent the panel and is intermediate the panel 210 and a camera 21. The camera is not shown in FIG. 56 but is depicted in FIGS. 37 and 51). The film 214 is also intermediate the panel 210 and an individual that is standing in a booth 10 on a floor or other stage area 216 that is (1) in front of the screen 131 and (2) between the screen 131 and camera 21. The chroma key screen 131 can also, as would be appreciated by those of skill in the art, be used in a television studio or at some location other than in booth 10. The studio or other location would also have a stage area 216 in which an individual, object, or other subject is positioned intermediate the camera 21 and screen 131. The subject can be stationary or moving. Regardless, however, of the location at which screen 131 is utilized, the panel 131 fulfills the same function of backlighting a film 214, and, the film (1) contacts or is spaced apart from the panel 210, (2) is between the panel 210 and a camera 21, and (3) is between the panel 210 and an individual standing in front of the screen 131 and standing between screen 131 and camera 21.

The film 214 is typically relatively thin, but the thickness of the film (1) can vary and be significantly larger than a minimal thickness typically associated with a film, and (2) can, for example, be on the order of one-sixteenth of an inch, one-eighth of an inch, one-quarter of an inch, or more.

The film 214 typically comprises a transparent or translucent polymer, but glass or any other desired material can be utilized to manufacture the transparent or translucent film

The film 214 typically is adhered to or otherwise mounted directly on the front surface 212 of panel 210 or on another substrate 213 that is attached to or is spaced apart from the backlighting panel 210. Adhesive or other fastening systems can be utilized to secure the film 214 to the front surface 212 of panel 210 or to a substrate 213. The substrate 213 typically is interposed between the film 214 and the back lighting panel 210, but can be positioned in front of the film 214 such that the film 214 is located between the substrate 213 and the backlighting panel 214. When the film 214 is located between the substrate 213 and the backlighting panel 210, the substrate 213 is normally, as would be expected, clear and transparent, although in some embodiments of the invention, the substrate 213 can be translucent and/or be comprised of one or more colors.

The film 214 typically is pliable prior to being mounted on panel 210 or substrate 213, but can be rigid or substantially rigid. For example, the film 214 can comprise a rigid green or blue glass or polymer. The panel 210 and substrate 213 can each be pliable, rigid, flexible, etc. as desired.

The structure of the backlighting panel 210 can vary as desired as long as it produces light that travels from the backlighting panel 210 through the film 214 toward camera 21.

In one embodiment of the invention, the backlighting panel 210 consists of one or more electroluminescent lighting (EL) panels or constructs.

In the presently preferred embodiment of the chroma key screen 131 of the invention, the backlighting panel 210 comprises a light emitting capacitor (LEC) panel. An LEC panel 210 can have the capacity of producing and emitting from each point or area on the LEC panel 210 light that generally has a uniform intensity and is shadow-free. Consequently, the combination of a LEC panel 210 that backlights a transparent or translucent colored film 214 minimizes or eliminates shadows. The presently preferred LEC panel is manufactured by CeeLite of 475 Sentry Pkwy, Suit 3000, Blue Bell, Pa. This LEC panel 210 delivers 99 percent uniform surface illumination, constantly monitors the output of the panel 210 and provides the power necessary to maintain the brightness level selected, and converts either DC or AC electrical current to meet required panle voltage and frequency needs. It is believed that LEC panel chroma key screens 131 constructed in accordance with the invention will eventually replace currently existing conventional chroma key screens because of the uniform intensity-shadow free light that such screens will produce.

In another embodiment of the chroma key screen 131 of the invention, the transparent or translucent first protective front outer laminate layer that is in and comprises a part of an LEC panel 210 or other EL panel is green or blue or another desired color or colors so that a colored film need not be applied to the LEC panel.

In another embodiment of the chroma key screen 131 of the invention, the color of light originally produced by the phosphor or other light producing components in an LEC panel 210 or other EL panel is green or blue or another desired color or colors so that a colored film need not be applied to the LEC panel and so that the protective transparent or translucent front outer laminate layer in the panel need not be colored.

In another embodiment of the chroma key screen 131 of the invention, a colored film is incorporated within an LEC panel 210 or other EL panel at a selected location between the a first protective front outer laminate layer and a second protective back outer laminate layer comprising the outer surfaces of the LEC panel. Light produced by the LEC panel passes through the colored film and then out through the first protective front outer laminate layer.

A cross-section of a typical LEC panel 210 shows layers consisting of, in order, a first protective front outer laminate layer, a shield protection layer, a PET-ITO layer, a phosphor layer, a rear electrode layer, a ground shield layer, and a second protective back outer laminate layer. When the LEC panel 210 is operated light is emitted outwardly through the first protective front outer laminate layer and away from the second protective back outer laminate layer. The first and second protective laminate layers bound and sandwich the shield protection layer, the PET-ITO layer, the phosphor layer, the rear electrode layer, and the ground shield layer. The LEC panel produced by CeeLite has this basic structure as evidenced at the CeeLite web site at www.ceelite.com.

DEFINITIONS WITH RESPECT TO MASTERING/REMASTERING AUDIO RECORDING

ADC. Analog to digital converter. Alias frequencies, eliminating. To eliminate alias frequencies utilize a brick wall filter or anti-aliasing filter. Anti-aliasing filter. 44.1 kHz. 44.1 kHz is used instead of 40 kH to make room for an anti-aliasing filter. Artificial subharmonics. Sounds that are added using electronics. Attack, units of measurement. Attack is measured in milliseconds. Bits, bytes. Sixteen bits=one byte. Capacitor, creates. A capacitor creates filters and rolloffs. Capacitor, order Increase. Each order in a capacitor produce a 6 dB increase. Capacitor, order, odd numbered. Capacitors need an odd numbered order because a capacitor creates a 180 degree phase shift so an even number of capacitor order would cancel out all sound. Compression, audio. A form of data compression designed to reduce the transmission bandwidth requirement of digital audio streams and the storage size of audio files. Compression, dynamic range. A process that reduces the dynamic range of an audio signal, that is, narrows the difference between high and low audio levels or volumes. Compression, gain reduction. Gain reduction is how much the signal is being compressed. Compression, parameters. The parameters of compression are threshold, makeup gain, compression ratio. Compression ratio. The numbers in a compression ratio represent dB input:dB output. Compression, red meter. In compression, the red meter represents gain reduction. Compression, vs limiting. The difference between compression and limiting is ratio, i.e., the limiting ratio is generally about 20:1. Compressor. (1) Performs compression. (2) An electronic device for reducing the variation in signal amplitude in a transmission system. (3) a transducer that produces an output with a range of voltages whose ratio is smaller than that of the range of the input signal. DAC. Digital to analog converter. Ordinarily must have ADC and DAC in signal flow. Decibel. (1) One tenth of a Bel; (2) The ratio (10 log power difference, 20 log voltage difference, etc.) Between the quantity of two levels, the level being measured and a reference; (3) dBV represents the level compared to 1 Volt RMS. 0 dBV=1V. There is no reference to impedance. (4) dBu represent the level compared t 0.775 Volts RMS with an unloaded, open circuit source (u=unloaded). (5) dBm represents the power level compared to 1 mWatt. This is a level compared to 0.775 volts RMS across a 600 Ohm load impedance. This is a measurement of power, not a measurement of voltage. (6) dbFS means relative to digital ull-scale. (7) dB SPL is a measure of sound pressure level and is the 20 log of the ratio between the measured sound pressure level and the reference point. The reference point is 0.000002 Newtons per square meter, the threshold of hearing. The threshold of hearing and sensitivity to level changes by frequency and for soft and loud sounds. Digital zero. (1) A digital level which can not be exceeded. 0 dBFS. (2) The reference point used for setting audio signal levels throughout a sound system, usually +4 dBu for pro audio use. Dither. Smooths out the stair steps of digital to analog conversion of a signal. Dither, when applied. Dither is applied in the signal flow after a preamp and before an anti-aliasing filter. Dynamic processors. The four types are compressor, limiter, upward expansion, and downward expansion. Dynamic range. Ratio between the smallest and largest possible values of a changeable quantity. Dynamic range, audio. (1) Ratio of the amplitude of the loudest possible undistorted sine wave to the rms noise amplitude, say of a microphone or loudspeaker. The dynamic range is NOT the ratio of the maximum to minimum amplitude a device can record. (2) Ratio of the highest and lowest signal in an electronic circuit. It measures the highest voltage, current or power compared to the lowest signal. (3) Difference between the loudest and most quiet sounds. Dynamic range, bit. One bit is 6 dB of dynamic range. Dynamic range, human. Difference between loudest and quietest sounds perceivable to the human ear. Human hearings have a high dynamic range and can hear a quiet murmur to the loudest rock concert. The dynamic range of human hearing is about 140 dB. In practice, it is difficult to achieve the full dynamic range experienced by humans using electronic equipment. Dynamic range, concert hall. The difference between the loudest and quietest sounds produced by a concert hall. The dynamic range of a concert hall doesn't exceed 80 dB. Dynamic range compression. Electronically produced audio with a wide dynamic range is fit into a narrower recorded dynamic range that can more easily be stored and reproduced. As used below in the discussion concerning remastering (or mastering), and with respect to the system of FIG. 57, this refers to the volume differential in the sound that is produced or in the sound at a particular step of the remastering process. Envelope. A line that extends around and encloses at least a portion of the overall amplitude (wave) structure of a sound. Timbre of a sound is greatly affected by the following aspects of its envelope: attack time, decay, sustain, release (ADSR envelope) and transients. Expander, downward. Another name for an expander is a noise gate. Expander, downward, controls. The three main controls are attack time, hold/decay, and release. EQ. Stands for equalization. Is typically post-tape and pre-fader. EQ, ⅓ graphic. A hardware version of EQ where each ⅓ octave has a designated slide (i.e., 3 sliders per octave) EQ, graphic, artistic or correctional. A graphic EQ is correctional. EQ Knobs. (1) On a console, they are within channel strips. (2) In software, they are the “inserts” or “sends”. EQ-off. The purpose of switching “EQ ON” to off is to reduce noise and avoid extra circuits. EQ-shelving. Shelving EQ work on either the low or high and is determined by + or −3 dB. EQ-shelving-another name. Aother name for a shelving EQ that only cuts high or low frequencies is a high pass filter or a low pass filter. EQ-types. The three types of EQ are parametric (peak-notch), shelving, and high-pass/low pass. EQ-semi-parametric. Also known as quasiparametric or sweepable. Equalizer. (1) A tone control system designed to compensate for frequency distortion in audio systems. (2) an electronic device made of filters and amplifiers, used to alter the relative strengths of different frequencies in an electronic signal. Equalizers are used primarily in audio equipment, allowing fine-tuning of the signal to compensate for distortion such as weak response or over sensitivity at various frequencies. Equalizer, filter. Filter is another name for an equalizer. Equalizer, graphic. (1) A graphic equalizer uses a set of controls that determine the level of boost or suppression of individual frequencies. The controls are usually sliding faders, set up in a row from lowest frequency to highest frequency, so that the final settings resemble a graph of the frequency response of the equalizer. (2) An electronic device that allows one to increase or decrease a fixed set of frequency ranges in an audio system. Equalizer, parametric. (1) A parametric equalizer consists of one or more filters whose characteristics can be controlled, such as the frequency to be manipulated, whether to boost or suppress the frequency, the amount of boost or suppression, and how much nearby frequencies are also affected. (2) An electronic device for cutting or boosting selected frequencies by continuous narrowing or widening of the frequencies to be filtered. Equalizer, parametric, controls. The three controls of a parametric equalizer are gain, frequency, and Q. Equalizer, parametric, control, gain knob. The gain knob controls the boost or cut in the dB level. Equalizer, parametric, one band. Only one band of frequencies is controllable (highs, mids, lows) with a set of knobs. Equalizer, parametric, two band. High and low frequencies are controllable on a two band parametric equalizer. Equalizer, parametric, three band. Highs, mids, and lows are the frequencies controllable on a three band parametric equalizer. Equalizer, parametric four band. Highs, high mids, low mids, and lows are the frequencies controllable on a four band parametric equalizer. Equalizer, parametric, five band. Highs, hid mids, mids, low mids, and lows are the frequencies controllable on a five band parametric equalizer. Equalizer, peak-notch. A parametric equalizer. Expander. (1) Greatly increases the dynamic range of the signal, as opposed to a compressor, which works to increase and decrease quickly. (2) A transducer that, for a given input amplitude range, produces larger output range. (3) A signal processor that increases the dynamic range of a signal. Filter, high-pass. A high pass filter is a “low cut filter” that allows only frequencies higher than its cut off frequency to pass (at −3 dB). Filter, low-pass. A low pass filter is a “high-cut filter” that allows only frequencies lower than its cut off frequency to pass (at −3 dB). Filter, measurement. High-pass and low-pass filters are measured by dB/Octave Roll off. Fundamental frequency. Lowest frequency found in a sound or note. The fundamental is not necessarily the strongest component of an overall sound. Gain. An increase in signal power, voltage, or current by an amplifier, expressed as the ratio of output to input. Also called amplification. Harmonics. Overtones that are whole number multiples of the fundamental frequency. Limiter. (1) A nonlinear electronic circuit whose output is limited in amplitude; used to limit the instantaneous amplitude of a waveform (i.e., to clip off the peaks of a waveform). (2) a circuit that allows signals below a specified input power to pass unaffected while attenuating the peaks of stronger signals that exceed this input power. (3) A device that prevents the voltage of an audio or video signal from exceeding a specified level, to prevent distortion or overloading of the recording device. (4) An electronic circuit that automatically controls volume to stop short peaks of volume exceeding a certain amount. (5) An audio device that fixes a top audio signal level and stops incursions above that level without affecting the dynamic range of the signal below the threshold selected. (6) Like a compressor, except that it does not allow the signal to go above the setting of the threshold. (7) An electronic circuit that acts much like a compressor, except it keeps the dynamic range of a signal within fixed limits. Loudness, subjective. A person's perception of how loud a sound is. The perception of loudness is related to both the sound pressure level and the duration of a sound. Loudness, objective. A physical measure of sound pressure including decibels or sound intensity. Loudness, increasing. Once the maximum amplitude of a CD is reached, the overall loudness can be increased by a combination of dynamic range compression and makeup gain. This is done by applying an increasing high ratio of compression to the dynamic range of the recording and then increasing the gain of the recording until the peak have reached maximum. Extreme use of dynamic range compression can introduce distortion or clipping to the waveform of the recording. Since there is a maximum loudness level available to recording, boosting the overall loudness of a song eventually creates a piece that is maximally uniformly loud from beginning to end. This creates music with small dynamic range, i.e., little difference between loud and quiet sections.

-   -   The other possible effect is clipping. Digital media can not         output signals higher then digital full scale or digital zero,         so when the peak of a signal is pushed past this point, the wave         form is clipped. Many pop and rock releases have some mount of         digital clipping.     -   Compression or limiting can lessen distortion in the final         product, and, can significantly reduce transient response (most         often heard as lessened drum impact) and, when taken to severe         levels, can reduce the natural dynamics of other instruments in         a recording.     -   Multi-band compression is commonly used to make a mix more         uniform and easier to balance, more compatible with low-end         equipment, or to achieve a certain sound or artistic effect.     -   Dynamic range or broadcast-style compression, on the other hand,         will be applied to the music to make the volume in different         song sections more uniform.     -   The latest CD releases as of 2008 reached average levels as high         as −3 dBFS.     -   Remasters can, with an extended frequency response, improve the         sense of clarity and ambience of a cording.     -   Other times, the improved sense of ambience can be         counterbalanced by an unnatural and excessive sharpness to the         recording.         Pitch. The perceived actual fundamental frequency of a sound.         Pitch is one of the three auditory attributes of sounds along         with loudness and timbre. The fundamental frequency can be         precisely determined and measured.         Pitch-definite. A sound or note as definite pitch when it is         relatively easy to discern the pitch. Sounds with definite pitch         have harmonic frequency spectra or close to harmonic spectra.         Pitch-indefinite. A sound has indefinite pitch (for example a         drum beat) when it is impossible or relatively difficult to         discern a pitch. Sounds with indefinite pitch do not have         harmonic spectra or have altered harmonic spectra.         Pitch-perceived. Perceived pitch is the pitch that is heard by a         human being and that includes the fundamental frequency and         associated overtones.         Plug-in. A hardware or software module that adds a specific         feature or service to a larger system.         Plug-in, Waves. Waves plug-ins include wave modeling,         compressors, gates, de-essers, limiters, equalizers, revers,         modulation effects, surround, restoration, pitch & time, stereo         imaging and meters. Which are we using?         Processor, insert. A processor is also known as an insert.         Processor, position in signal flow. In signal flow a processor         fits between EQ and channel fader.         Q. Quality effect, i.e., the shape of bell at −3 dB points on         either side of the peak.         Q-high. A narrow bell curve.         Q-low. A wide bell curve.         Release, units of measurement. Release is measured in         milliseconds.         Rolloff, steepness. 12 dB/octave rolloff is steeper than 6         dB/octave roll off.         RMS. Root mean square amplitude; for example, typically a RMS         voltage.         Signal to noise ratio (SNR). Ratio of a signal power to the         noise power corrupting the signal.         Sample period, sample rate. Sample period is the inverse of         sample rate.         Sample rate, measures. Sample rate measures frequency and         amplitude (voltage).         Sample rate measurement, actual voltage. The different between         sample rate measurement and actual sample voltage creates alias         frequencies.         Sample rate, primaries. The six primary sample rates are 44.1         kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz and 192 kHz.         Sample rate, voltage. Sample rate captures the voltage of a         wavelength.         Spectra. The frequencies found in a sound or note produced by a         musical instrument(s).         Timbre. Quality of a musical note or sound or tone that         distinguishes different types of sound production. Timbre is         also known a tone color. For example, people use timbre to         distinguish the saxophone from the trumpet in a jazz group, even         if both instruments are playing notes of the same pitch and         loudness. Timbre is determined by at least five major acoustic         parameters: (1) The range between tonal and noise like         character; (2) he spectral envelope; (3) the time envelope in         terms of rise, duration, and decay; (4) changes both of spectral         envelope (formant-glide) and fundamental frequency         (micro-intonation); and (5) the prefix, an onset of a sound         quite dissimilar to the ensuing lasting vibration.         Transducer. An electronic device that converts energy from one         form to another. Examples include microphones, speakers,         thermometers, position and pressure sensors, antennas, LEDs,         light bulbs.

Vu to dBm. 0 Vu=+4 dBm. Remastering

An improved process to remaster a previously mastered audio work is illustrated in FIG. 57. The original audio signal 220 is processed 221 to produce equivalent secondary signals by reducing the amplitude (volume) of the original audio signal by a desired amount, typically eight to fourteen Db. A standard volume control is utilized. Alternatively, the signal volume could be reduced at any point in the remaster process.

An equalizer is then utilized to reduce 222 in each of the secondary signals the amplitude of frequencies in the range of 125 to 400 cycles per second. Step 222 can, if desired, be eliminated, but has been found important in facilitating processing of the audio signal during subsequent processing in each of layers 223, 233. After being processed in step 222, one of the secondary signals passes into layer one processing 223. Another of the secondary signals passes into layer two processing 233. If desired, more than two secondary signals can be produced and each processed in a layer three processing, layer four processing, etc.

During layer one processing 223, one of the secondary signals is first processed by a limiter 224, is then reduced in volume 225, is processed by compressor 226, is reduced in volume 227, is processed by expander 228, is reduced in volume 229, is processed by equalizer 230, and is processed by limiter 241.

During layer two processing 233, the other secondary signals is first processed by a limiter 234, is then reduced in volume 235, is processed by compressor 236, is reduced in volume 237, is processed by expander 238, is reduced in volume 239, is processed by equalizer 240, and is processed by limiter 241.

Synchronization of the secondary signals produced during step 222 is important. The time required for each secondary signal to pass through its respective processing layer 223, 233 is equivalent so that each secondary signal takes the same amount of time to pass through a processing layer 223, 233 and reach limiter 241.

The signals produced by each layer 223, 233 can be equivalent in loudness, but in most cases, the signal produced by one of layers 223, 233 is louder than the signal produced by the other layer(s). For example, layer one processing 223 can minimize or largely eliminate bass frequencies and emphasize and process higher frequencies while layer two processing can minimize or largely eliminate higher frequencies and process and emphasize bass frequencies. If the bass frequencies in the original audio signal 220 are weak, layer two processing can increase the loudness of the bass frequencies to that when the processed signals are joined and processed at limiter 241 the resulting audio signal increases a bass component with a greater volume and presence that is the case in the original audio signal. Each layer 223, 233 ordinarily focuses on a band of frequencies that is different from the band of frequencies focused on in each other layer. The frequencies that are not being focused on in a layer are, in comparison to the frequencies that are being focused on, ordinarily minimized or eliminated.

In a further embodiment of the invention, the dynamic range increases during the chorus of a song or instrumental piece.

When a compressor 226, 236 is utilized, the threshold setting typically is int he range of −5 dB to −60 dB.

In one embodiment of the invention, if the original audio signal is a combination of a vocal track and an instrumental track, the instrumental track is processing according to FIG. 57 separately from the vocal track. The remastered instrumental track is recombined with the original vocal and instrumental track.

In another embodiment of the invention, the instrumental track, or portions of the instrumental track are “put in the middle” by having the instrumental track on both the left and right “sides” of a stereo recording. The volume of the instrumental track on the right side is equivalent to the volume of the instrumental track on the left side.

In a further embodiment of the invention, the right (left) side, or a portion of the right side, of a stereo recording is “put in the middle” by also placing the right side on the left side at an equivalent volume level.

A limiter 241 can compress selected frequency volume peak while a compressor compresses them all.

In general, the particular frequencies that a layer 223, 233 emphasizes will experience an increase in volume compared to their volume levels when the frequencies first enter the layer from equalizer 222.

Having described the presently preferred embodiments and best mode of the invention in such terms as to enable those of skill in the art to understand and practice the invention, 

We claim:
 1. A method for mastering a final mix audio file comprising the steps of: (a) reducing the volume of the audio recording; (b) producing a plurality of equivalent secondary signals by reducing the overall volume of the audio recording and reducing the amplitude of a limited number of selected frequencies in the audio recording; (c) synchronously processing a selected frequency band in each one of the equivalent secondary signals by: (i) sequentially processing the secondary signal with at least two pieces of equipment selected from a group consisting of a limiter, an expander, a compressor, and an equalizer; and (ii) reducing the volume of the secondary signal when the secondary signal is transmitted from one of the pieces of equipment to another of the pieces of equipment
 2. A method for mastering a final mix audio file comprising the steps of: (a) initially reducing the volume of the final mix audio file prior to processing; (b) producing at least two equivalent secondary signals of the final mix audio file by reducing the overall volume of the final mix audio file a second time; (c) reducing the amplitude of selected frequencies in the final mix audio file; (d) dividing the secondary signals into at least two layers for sound processing; (e) synchronously processing the at least two layers of the selected frequency band in: (i) sequentially processing the secondary signal with at least two pieces of equipment selected from a group consisting of a limiter, an expander, a compressor, and an equalizer; (ii) reducing the volume of the secondary signal when the secondary signal is transmitted from one of the pieces of equipment to another of the pieces of equipment; and (f) merging the processed layers at a limiter; and wherein the time for processing each layer is the same.
 3. The method of claim 2, wherein the loudness of each of the layers differs.
 4. The method of claim 2, wherein one of the layers illuminates base frequencies while processing higher frequencies.
 5. The method of claim 2, wherein each layer processes a band of frequencies that is different from the other.
 6. The method of claim 2, wherein the final mix audio file is a combined vocal and instrumental recording and further wherein the instrumental track is processed in one layer and the vocal track is processed in a second layer.
 7. In a system for mastering a final mix audio file, wherein the improvement comprises: (a) means for inputting the final mix audio file into a signal divider and for outputting the final mix audio file and at least one exact duplicate of the final mix audio file; (b) a first equalizer in communication with the means for inputting and outputting, the first equalizer simultaneously and at the same time lowering the volume of the final mix audio file and the at least one exact duplicate; (c) means for identically processing each audio file outputted from the first equalizer simultaneously and at exactly the same time, without any time delay between the signals, and in the same sequence, each means for processing being identical and each comprising: (i) a first limiter in communication with the first equalizer, the first limiter having an output; (ii) means for lowering the volume of the output from the first limiter, the means for lowering the volume of the output from the first limiter having an output; (iii) a compressor receiving the output from the first means for lowering the volume of the output from the first limiter, the compressor having an output; (iv) means for lowering the volume of the output from the compressor, the means for lowering the volume of the output from the compressor having an output; (v) an expander which receives the output from the means for lowering the volume of the output from the compressor having an output; (vi) means for lowering the volume of the output from the expander; (vii) a second equalizer for processing the output from the expander, the second equalizer having an output; and (d) a second limiter, the output from each of the second equalizers being merged at the second limiter to provide a single mastered audio output therefrom; and wherein either the final mix audio file or the at least one exact duplicate of the final mix audio file has its bass frequencies eliminated while being processed at higher frequencies.
 8. A method for mastering a final mix audio file comprising the steps of: (a) initially reducing the volume of the final mix audio file; (b) duplicating the final mix audio file to provide at least one exact copy of the final mix audio file, the final mix audio file defining a primary signal layer, the at least one exact copy defining an at least one exact equivalent secondary signal layer; (c) processing through an equalizer the primary and secondary signal layers to reduce its amplitude, the equalizer having an output; (d) at the output of the equalizer, separating the primary and secondary signal layers, each as a whole, into separate identical signal layers; (e) sequentially processing in identical sequence the primary and secondary signal layers with at least two pieces of identical equipment selected from the group consisting of a limiter, an expander, a compressor, and an equalizer, either the primary or secondary signal layers being processed within a first range of frequencies and the other of the primary or secondary signal layers within a different range of frequencies; (f) reducing the volume of the primary and secondary signal layers as a whole when each signal layer is transmitted from one of the above pieces of equipment to another of the above pieces of equipment; (g) simultaneously merging the processed primary and secondary signal layers at a limiter; (h) simultaneously processing the merged primary and secondary signal layers through at least the limiter and then outputting the merged primary and secondary signal layers as a single mastered audio file; and wherein the time for processing each of the primary and secondary signal layers is the same.
 9. In a method for mastering an inputted final mix audio file, wherein the improvement comprises the steps of: (a) reducing the volume of the final mix audio file; (b) processing the final mix audio file having a reduced volume through an equalizer; (c) duplicating the inputted final mix audio file to provide at least one exact duplicate of the final mix audio file, the final mix audio file defining a primary signal layer, the at least one exact duplicate defining an at least one exact equivalent secondary signal layer; (d) separating the primary and secondary signal layers, each as a whole, into separate identical signal layers; (e) reducing the amplitude in each of the primary and secondary signal layers; (f) synchronously processing, at the same time and without any time delay between the primary and secondary signals, the identical separate signal layers by; (i) sequentially processing identically the primary and secondary signal layers with at least two identical pieces of identical equipment selected from the group consisting of a limiter, an expander, a compressor, and an equalizer, either the primary or secondary signal layers being processed within a first range of frequencies and the other of the primary or secondary signal layer within a different range of frequencies; and (ii) reducing the volume of each of the primary and secondary signal layers as a whole when each signal layer is transmitted from one of the above pieces of equipment to another of the above pieces of equipment; (g) simultaneously merging the processed primary and secondary signal layers at a limiter, (h) simultaneously processing the merged primary and secondary signal layers through the limiter and then outputted; wherein the time for processing each of the primary and secondary signal layers is the same; and wherein one of the primary and secondary signal layers eliminates bass frequencies while processing higher frequencies.
 10. The improvement of claim 9, wherein the loudness of each of the primary and secondary signal layers differs.
 11. The improvement of claim 9, wherein each of the primary and secondary signal layers each have their bass frequencies processed. 